LIBRARY 

OF    THE 

UNIVERSITY  OF  CALIFORNIA. 
Class  2^5 

Mir*. 


GENERAL 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

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http://www.archive.org/details/elocutionsourcesOOmcilrich 


ELOCUTION 


SOURCES  AND  ELEMENTS 


ITS  POWER 


I    TEXT-BOOK   FOR  SCHOOLS    AND   COLLEGES,   AND    A  BOOK  FOR 

EVERY   PUBLIC   SPEAKER,    AND   STUDENT   OK 

THE    ENGLISH    LANGUAGE 


By  J.  H.  MoILVAINE 

Profesgor  of  Belles  Lettret  in  Princeton  Coueyt. 


NEW   YORK: 

CHARLES     SCRIBNER'S     SONS, 

1S95 


according  to  Act  of  Congress,  in  the  year  1870,  by 
CHARLES  SCRD3NEB  AND  COMPANY 
i  the  clerk's  office  of  the  District  Court  of  the  Unite  i  States  for  tne 
District  of  New  York. 


GENERAL 


PREFACE. 


The  author  of  this  work  has  been  engaged  in  the  practice 
of  public  speaking,  almost  without  interruption,  for  thirty 
years  ;  during  the  last  ten  of  which,  he  has  also  been  a  sys- 
tematic student  and  teacher  of  the  art  of  elocution.  When 
he  accepted  the  chair  of  Belles  Lettres  in  Princeton  Col- 
lege, in  1860,  he  received  a  special  request  from  the  Board 
of  Trustees  k>  work  up  this  much  neglected  department  of 
educatiou  although  it  was  not  properly  included  in  the  du- 
ties of  his  professorship  ;  and  with  this  object  in  view,  they 
gave  him  a  laborious  and  faithful  assistant  in  Prof.  S.  G 
Peabody.  The  notes  and  criticisms,  which  gradually  accu- 
mulated upon  his  hands  in  successive  courses  of  instruction 
and  training,  are  here  offered  to  the  public  in  a  systematic 
form,  now  that  his  work  in  the  College  is  drawing  to  a  close. 
The  attention  of  teachers  and  students  of  this  art,  is 
requested,  in  appreciation  of  the  following  points.  1.  Nearly 
one  half  of  the  work  consists  in  the  exhibition  of  the  intel- 
lectual, moral,  esthetical  and  physical  sources  of  power  in  de- 
livery, whicn,  it  is  believed,  have  never  before  been  treated 
of  as  included  in  the  art  of  elocution.  2.  The  second  part 
oon tains  several  chapters  on  Phone  logy,  in  which,  especially 


100737 


IV  PREFACE. 

under  the  heads  of  articulation,  accent  and  pronunciation, 
new  views  are  advanced,  which  it  is  hoped  may  have  an 
interest  for  phonologists,  students  of  the  English  language, 
and  all  who  desire  to  pronounce  it  conectly,  independently 
of  the  relation  of  these  chapters  to  the  principal  object  of  the 
work.  3.  The  whole  matter  of  the  work  has  been  careful]  y 
analyzed  or  generalized  under  principal  and  subordinate 
heads,  in  order  to  facilitate  the  comprehension  of  particulars, 
and  to  aid  the  memory  in  recitation.  This  last  point  the 
author  regards  as  of  such  importance,  that  he  has  allowed  the 
beauty  of  a  perfectly  plain  page  to  be  sacrificed  to  the  utility 
of  black  letter  and  italics,  for  the  purpose  of  distinguishing 
these  principal  and  subordinate  heads. 

It  will  be  evident  to  all  who  may  look  into  this  work,  that 
it  has  cost  a  great  deal  of  labor ;  so  much,  indeed,  that  the 
author  pities  himself  when  he  thinks  of  it,  and  cannot  but 
fear  that  it  might  have  been  more  usefully  employed.  Yet 
he  cannot  flatter  himself  that  the  work  does  not  contain 
many  errors  and  defects.  Such  as  it  is,  however,  it  is  offered 
to  the  public,  not  without  the  hope  that  the  views  presented 
may  continue  to  be  useful  to  many  who  are  engaged  in  tha 
itudy  or  practice  of  this  beautiful  and  most  useful  of  all  arte. 

Puxgktoh,  Feb.  26,  1870 


• 


CONTENTS. 


INTRODUCTION. 

L — The  Importance  of  a  Good  Delivery 1 

H— Utility  of  the  Study  of  Elocution , .  15 

PART    I. 

L — Preliminary    Observations,    and    Fundamental 

Principles 45 

H— Power  in  Thought 50 

DX— Feeling 58 

IV. — Earnestness 83 

V. — The  Mental  State  of  Direct  Address  to  the  Audi- 
ence    93 

VI. — Attention  and  Sympathy 103 

VII. — Mastery  of  the  Subject-matter  in  Extempore  Dis- 
course    136 

Vlll. — Facility  of  Remembering  in  Memoriter  Delivery  129 

IX. — Familiarity  with  the  Manuscript 138 

X. — Vitality,  Favorable  Moods,  and  Physical  Regimes  153 

XL— Self-control 165 


Contents. 
PART    II. 

I.— Method  of  Treatment 177 

IL — The  Vocal  Organism  in  Relation  to  Vocal  Culture  181 

EX— Articulation 199 

TV.  —Accentuation 227 

V.  —Pronunciation 239 

VL— The  Qualities  of  the  Voice 294 

VTL— The  Powers  of  the  Voice 308 

VIIL— Pitch  and  Inflection „21 

IX.— Time  and  Pause 346 

X.— Force 360 

XI.— Emphasis....... 368 

XIL— Gesture 384 


INTRODUCTION. 

OHAPTEE  I. 

THE   IMPORTANCE   OF  A    GOOD   DELIVERY. 

§  1.  The  principal  reason  for  discussing  this  subject  is  that 
the  importance  of  elocution  is  very  imperfectly  appreci- 
ated, both  by  educators  and  public  speakers. 

It  would  seem  to  be  obvious  of  itself  that  they 
whose  business  it  is  to  speak  in  public,  should  spare 
no  pains  in  order  to  be  able  to  speak  well.  As  a 
matter  of  fact,  however,  we  often  find  it  far  otherwise. 
For  while  good  writers  are  not  at  all  uncommon, 
good  speaking  is  notoriously  a  rare  accomplishment. 
The  professions  which  depend  most  immediately 
upon  speaking,  are  crowded  with  failures  ;  and  of  the 
many  young  men  of  superior  talents,  and  culture, 
who  thus  fail,  few  seem  to  have  any  suspicion  that 
the  chief,  and  often  the  sole  cause,  is  their  wretched 
delivery.     And  whilst  rhetoric  is  thoroughly  taught. 


2  Introduction. 

elocution  lias  hardly  any  recognized  place  in  oui 
systems  and  institutions  of  liberal  education. 

Hence  it  seems  plain  that  this  art  is  very  tra 
perfectly  appreciated,  not  only  by  educators,  but  al- 
so by  professional  orators  themselves.  It  is  in 
place,  therefore,  to  offer  here  some  considerations 
which  may  serve  to  exhibit  the  importance  of  a 
good  delivery. 

^  2.  Oral  speaking  is  essential  to  eloquence,  and  even  to  Ian 
gnage  itself. 

1.  That  oral  speaking  is  essential  to  language  is  proved 
by  the  authority  of  the  greatest  masters  of  linguistic 
science. 

The  following  quotation  is  from  Wilhelm  von 
Humboldt,  who  has  been  called  the  father  of  Com- 
parative Philology.  "  We  must  exclude  everything 
from  the  definition  of  language,  but  actual  speak- 
ing  The  essence  of  language  lies  in  the  liv- 
ing utterance,  in  that  which  does  not  suffer  itself  to 
be  apprehended  in  the  sundered  elements  of  written 

words It  is  only  by   the    spoken   word   that 

the  speaker  breathes  his  own  life  into  the  souls  of 
his  hearers Written  language  is  only  an  im- 
perfect and  mummy-like  embalming,  of  which  the 
highest  use  is  that  it  may  serve  as  a  means  of  re- 
producing the  living  utterance."  In  fact  it  was  the 
recognition  of  the  truth  thus  enunciated,  which  res- 
cued the  study  of  language  from  that  inveterate 
pedantry  by  which  it  had  long  been  paralyzed,  and 
made  it  that  living  and  progressive  science  which  it 
has  now  become. 


Impoktance  op  a  Good  DEUvEnr.  b 

2.  That  oral  speaking  is  essential  to  eloquence  is 
proved  from  the  etymology  of  the  word,  from  the  fact 
that  the  power  of  a  word  is  inseparable  from  its  soundt 
and  from  the  fact  that  tJie  masters  of  eloquence  haw 
always  been  speakers, 

(1.)  The  etymology  of  the  word  eloquence 
is  the  same  with  that  of  elocution.  Both  of 
these  words  alike  have  for  their  base  or  root  the 
idea  of  speaking.  Further,  they  are  compound- 
ed of  e,  from,  and  loquor,  I  speak ;  expressing  the 
notion  of  speaking  from  something.  From  what 
then  does  true  eloquence  speak?  Doubtless  the 
conception  which  suggested  this  composition  of 
the  word,  was  that  eloquence  speaks  from  the  hear! 
of  man.  It  is  from  the  depths  of  the  rational  and 
moral  nature  that  the  articulate  human  voice 
streams  forth  ;  of  which  nature,  therefore,  it  consti- 
tutes the  most  perfect,  the  noblest,  that  is  to  say, 
the  eloquent  expression.  Hence  it  is  only  in  an  in- 
ferior sense  that  unspoken  words  can  be  called  elo- 
quent. 

(2.)  The  true  power  of  a  word  is  inseparable  from 
its  sound.  The  articulation,  tones,  inflections,  accent 
and  emphasis,  as  also  in  the  play  of  the  features,  and 
all  the  motions  of  the  limbs  and  body,  with  which  a 
word  is  spoken,  are  essential  elements  of  its  expres- 
siveness and  power.  They  express  modifications 
and  shades  of  thought,  and  ever-varying  intensity 
of  emotion  and  passion,  which  written  words  do  not 
even  suggest.    They  are,  therefore,  the  flesh  and 


*  Introduction. 

blood,  the  very  life,  of  which  written  words  are  lit- 
tle more  than  the  bony  skeleton. 

(3.)  The  models  of  eloquence  have  always  been 
speakers.  That  the  greatest  masters  of  eloquence,  in 
all  ages  of  the  world,  have  been  orators,  requires  nc 
proof.  It  needs  only  to  run  over  their  names.  But 
why  should  this  be  so,  if  oral  speaking  were  not 
essential  to  the  blossom  and  golden  fruit  of  true 
eloquence  ? 

§  3.  Delivery  is  to  discourse  what  performance  is  to  music 

This  view  of  the  importance  of  delivery  in  dis- 
course, is  confirmed  by  the  close  analogy  that  sub- 
sists between  music  and  articulate  speech.  For 
music  is  a  language  of  tones  addressed  to  the  sen- 
sibilities, or  emotional  nature,  whilst  speech  is  a 
language  of  tones  and  articulations  addressed  to  the 
intellect  and  the  sensibilities  ;  and  both  these  forms 
of  language  may  be  noted  in  written  .symbols,  and 
reproduced  in  vocal  utterances.  The  analogy  be- 
tween them  is  therefore  very  close ,  and  we  shall  find 
it  useful  hereafter  in  many  ways.  But  here  what  we 
have  to  consider  is  that  it  holds  good  to  exhibit  the 
Importance  of  delivery  in  the  three  following  partic- 
ulars. 

1.  Both  discourse  and  music  'produce,  their  proper 
effects  by  means  of  sound. 

For  as  the  most  accomplished  musician  can 
comprehend  only  a  little  of   the    sentiment   and 


Importance  ob  a  Good  Deliver*.  5 

force  of  a  piece  of  music,  and  can  derive  but  a  fee- 
ble pleasure  from  barely  running  his  eye  over  the 
score ;  as  it  is  only  when  he  comes  to  render  it  with 
his  voice  or  instrument  that  its  full  and  proper 
effect  can  be  produced  upon  himself  or  others ; — 
such,  in  great  measure  is  the  difference  between 
the  power  and  effect  of  discourse  as  presented  tc 
the  eye,  and  that  which  it  produces  when  addressed 
to  the  ear. 

2.  Both  discourse  and  music,  when  poor  but  well  ren- 
dered, are  better  than  when  good  and  poorly  rendered. 

As  a  poor  piece  of  music,  well  performed,  pro- 
duces a  better  effect  than  that  which  is  ever  so  good 
in  itself,  but  ill-performed,  so  an  inferior  discourse, 
well  delivered,  will  commonly  be  found  to  accom- 
plish its  object  far  better  than  a  superior  discourse 
badly  delivered. 

3.  Both  discourse  and  music,  when  good  but  poorly 
rendered,  are  powerless,  or  they  defeat  their  own 
aims. 

As  a  good  piece  of  music,  badly  performed,  fails 
of  its  proper  effect,  and  either  awakens  no  emotions 
at  all,  or  a  wholly  different  class  from  those  which 
are  intended,  so  the  best  discourse  in  the  world, 
being  spoiled  in  the  delivery,  either  falls  powerless 
and  dead,  or  exerts  an  influence  to  defeat  its  own 
aims.  Such  discourses  in  the  pulpit  often  put  theii 
hearers  to  sleep,  when  they  are  intended  to  excite 
to  watchfulness  and  prayer ;  they  are  heard  with 
weariness  and  pain,  when  they  are  intended  to  im- 
part spiritual  refreshment    and  joy ;  or  aiming  tc 


6  Introduction. 

awaken  pity  and  love,  they  call  forth  only  indigna- 
tion and  disgust.  In  these  and  other  particulars 
delivery  is  to  discourse  what  performance  is  to 
music. 

&  1.  The  opinions  of  the  great  orators  and  rhetoricians  arc 
strongly  in  fayorof  the  importance  of  a  good  delivery. 

The  most  celebrated  orators  and  rhetoricians,  in 
all  ages  of  the  world,  have  ascribed  the  very  greatest 
importance  to  a  good  delivery.  The  views  of  only 
a  few  of  them  can  be  given  here. 

1.  Massitton,  court  preacher  to  Louis  XIV.,  and 
one  of  the  most  eloquent  men  of  his  time,  being 
asked,  which  of  his  sermons  he  regarded  as  the  best, 
replied,  "  The  one  I  remembered  best ;"  by  which 
he  meant,  of  course,  the  one  he  had  delivered  best. 

2.  Quintilian  also  teaches  us  that  "  it  is  not  of  so 
much  importance  what  our  thoughts  are,  as  it  is  in 
what  manner  they  are  delivered  ;  since  those  whom 
we  address  are  moved  only  as  they  hear."  We 
need  not  subscribe  to  this  statement  in  its  utmost 
force,  yet  the  authority  is  a  very  high  one. 

3.  Cicero,  as  standing  in  the  very  front  rank,  both 
of  rhetoricians  and  orators,  is  a  still  higher  author- 
ity ;  and  he  expresses  himself  yet  more  strongly,  if 
possible,  in  the  following  words  :  "  All  the  parts  of 
oratory  succeed  as  they  are  delivered.  Delivery,  I 
say,  has  the  sole  and  supreme  power  in  oratory 
Without  it  a  speaker  of  the  greatest  mental  power 
cannot  be  held  in  any  esteem  ;  while  with  this  qual- 
ification, one  of  moderate  abilities  may  surpass 
those  of  the  greatest  talent." 


Introduction  7 

4  Demosthenes,  the  highest  of  all  authorities,  ex- 
presses himself  in  the  strongest  words  of  all.  Both 
Cicero  and  Quintilian  inform  us  that  he,  being 
asked  what  was  of  the  first  importance  in  oratory, 
replied,  "  Action ; "  being  asked  what  was  next  in 
importance,  replied  again,  "  Action  ;  "  and  being 
asked  what  was  of  the  third  degree  of  importance, 
he  answered  still,  "  Action."  Thus  according  to 
Quintilian  he  continued  to  give  the  same  answer  as 
often  as  he  was  questioned;  "so  that,"  in  the 
words  of  this  author,  "  he  may  be  thought  to  have 
esteemed  '  action '  not  merely  the  principal,  but 
the  only  excellence."  In  order  now  to  appreciate 
the  full  force  of  this,  it  must  be  understood  that 
what  the  Greeks  meant  by  action,  was  precisely  that 
which  the  Romans,  and  we  after  them,  call  delivery. 

5.  JSschines,  *H  **~e,  the  great  rival,  and  barely 
the  inferior  oi  Demosthenes,  having  read  to  his  class 
at  Rhodes,  where  he  taught  eloquence,  the  Oration 
on  the  Crown,  which  had  procured  his  banishment 
from  Athens,  and  the  class  expressing  their  un- 
bounded admiration  —  exclaimed,  "  And  what  if 
you  had  heard  him  deliver  it  himself !  "  thus,  not- 
withstanding its  unrivalled  excellence  as  a  rhetorical 
composition,  ascribing  its  irresistible  power  to  the 
delivery. 

Such  have  been  the  views  upon  this  point  of  all 
the  great  rhetoricians  and  orators,  with  hardly  an  ex- 
ception, whose  opinions  have  been  left  on  record; 
and  it  would  seem  that,  with  such  an  array  of  au- 
thority against  them,  those  who  undervalue  the  im» 


8  Importance  or  a  Good  Delivery. 

portance  of  a  good  delivery  are  changeable  witt 
little  less  than  infatuation. 

§  5.  The  example  of  Socrates  in  that  he  wrote  nothing,  bni 
confined  himself  to  oral  discourse,  shows  his  appreciation 
of  the  pawer  with  which  thought  is  clothed  by  delivery. 

It  may  not  be  at  once  apparent  how  the  example 
of  Socrates,  who  was  not  an  orator  in  the  common 
acceptation  of  the  word,  can  be  adduced  in  illustra- 
tion of  the  importance  of  good  delivery.  But  we 
must  remember  that  he  was  eminently  a  talker,  and 
perhaps  the  greatest  master  of  the  art  of  discourse 
in  Athens,  during  the  flourish  and  bloom  of  Athen- 
ian eloquence  and  culture.  Also  he  was  the  most 
successful  educator,  with  a  single  exception,  the 
world  has  ever  seen.  He  educated  a  greater  num- 
ber of  world-renowned  men  than  ever  before  or 
since  came  forth  from  the  school  of  any  one  teacher. 
His  success  appears  so  wonderful  to  those  who 
have  looked  into  it,  that  an  eminent  philosopher  of 
modern  times,  Condillac,  himself  a  practical  educa- 
tor, hazards  the  assertion,  that  "  since  the  time  of 
Socrates  the  secret  of  education  has  been  lost." 
Now  that  all-moulding  influence  which  this  man  ex- 
erted, had  for  its  sole  instrumentahty,  oral  speak- 
ing— he  wrote  nothing.  All  that  we  know  oi  the 
doctrines  he  inculcated,  or  of  the  methods  he  em- 
ployed, is  derived  from  the  writings  of  his  disciples  , 
among  whom  such  men  as  Plato  and  Xenophon 
could  find  no  better  way  of  commending  their  phi- 
losophical speculations  to  the  world,  than  by  profess- 
ing to  report  the  conversations  of  their  great  mastvi 


Introduction.  9 

So  deeply  was  he  impressed  with  the  conviction 
that  the  great  work  which  he  had  undertaken  could 
be  accomplished  by  no  instrumentality  except  oral 
speaking,  that  he  deliberately  rejected  every  other. 
For  when  asked  why  he  did  not  write  out  his  teach- 
ings in  a  permanent  form,  he  is  said  to  have  replied  : 
"  I  would  rather  write  upon  the  hearts  of  living 
men,  than  upon  the  skins  of  dead  sheep."  The  sig- 
nificance of  such  words  from  such  a  man  can  hardly 
be  overestimated. 

§  6.  The  example  of  the  Lord  Jesus  Christ,  in  that  he  also 
wrote  nothing,  shows  a  similar  appreciation  of  the  supe- 
rior power  of  oral  discourse. 

A  similar  but  stronger  argument  may  be  drawn 
from  the  example  of  a  greater  than  Socrates,  our 
Lord  Jesus  Christ.  He,  being  the  incarnate  Word 
of  God,  was  the  only  perfect  master  of  human  elo- 
quence that  ever  lived — never  man  spake  like  this  man. 
He  also  was  an  educator,  who  sought  to  impress 
himself  upon  his  disciples,  and  to  mould  them  into 
his  own  likeness  ;  and  his  success  was  such  that  they 
all  became  celebrated  throughout  the  world,  and 
their  influence  upon  its  history  has  been  immeasura- 
bly greater  than  that  of  any  other  men  the  world  has 
ever  seen.  He  also  wrote  nothing — he  confined 
himself  to  the  sole  instrument  of  oral  speech.  Now 
when  we  consider  how  desirable  it  seems  to  us  that 
he  should  have  written  out  in  precise  form,  and  in 
minute  detail,  those  divine  truths  by  the  faith  of 
which  the  world  was  to  be  regenerated  and  purified, 
»nstead  of  leaving  them  to  be  reported  from  his  lipa 


10  Importance  of  a  Good  Delivekx. 

oy  those  who  heard  him,  we  cannot  fail  to  see  thai 
it  must  have  been  with  deliberate  design  that  he 
confined  himself  to  oral  speech.  He  also  evidently 
would  write  his  doctrines  upon  the  hearts  of  living 
men,  rather  than  upon  the  skins  of  dead  sheep. 

From  this  striking  agreement  between  the  two 
greatest  men  (if  it  be  lawful  so  to  speak)  and  most 
successful  educators  the  world  has  ever  known,  and 
whose  vitalizing  influence  upon  human  nature  has 
been  so  much  deeper  and  wider  and  more  perman- 
ent than  that  of  any  others,  it  may  perhaps  be  in- 
ferred that  Condillac's  lost  secret  of  education  is  to 
be  found  in  that  all-moulding  personal  influence  of 
the  teacher,  which  can  be  exerted  through  no  other 
instrumentality  but  that  of  the  truth  orally  delivered. 
If  this  were  so,  it  would  teach  us  a  lesson  of  tran- 
scendent value  with  respect  to  the  importance  of 
such  a  delivery  as  shall  be  adequate  to  express,  and 
to  impress  upon  others,  the  truth  which  we  have  to 
communicate. 

§  7.  The  fact  that  the  Lord  ordained  the  oral  preaching  of 
the  gospel  as  the  means  of  propagating  the  Christian  relig- 
ion, confirms  the  preceding  interpretation  of  his  exam- 
ple, and  affords  another  argument  for  the  importance  of 
delivery. 

The  foregoing  interpretation  of  the  example  of 
Christ  is  confirmed  by  the  fact  that  he  expressly 
ordained  preaching  as  the  great  means  and  instru 
mentality  for  the  propagation  of  the  gospel  — 
the  Christian  religion.  For  this  also  must  have 
been  with  deliberate  design,  in  view  of  adequate 


Introduction,  11 

reasons.  One  of  these,  no  doubt,  was  the  great 
number  of  persons  who  were  then,  and  have  been 
in  every  subsequent  age,  unable  to  read  But  this 
3ould  not  have  been  the  controlling  reason.  For  if 
so,  the  preaching  of  the  gospel  would  be  unneces- 
sary to  the  learned,  and  might  be  superseded,  iv 
their  case,  by  the  silent  perusal  of  the  written  Word. 
It  is  perfectly  certain,  however,  from  experience,  that 
in  the  case  of  the  learned,  the  solitary  reading  oi 
the  Scriptures,  however  important  in  itself,  is  no  sub- 
stitute for  the  oral  preaching  of  the  gospel.  The 
great  reason,  no  doubt,  was  that  Jesus,  who  kneio 
what  was  in  man,  was  intimately  acquainted  with  all 
those  latent  sensibilities  of  the  soul,  which  can  be 
reached  and  moved  by  nothing  so  powerfully  as  by 
the  voice  of  the  living  preacher,  by  the  truth  incar- 
nate, as  it  were,  and  uttering  itself  in  an  oral  form. 
With  divine  wisdom  he  adapted  the  means  of  our 
spiritual  renovation  to  the  principles  of  human  na- 
ture. 

For  when  the  Word  is  thus  preached  by  the  voice 
of  a  living  man  to  a  congregation  of  living  men, 
it  produces  an  effect  upon  their  souls  which  is 
altogether  peculiar.  When,  e.  g.  a  WhitefieM  ut- 
ters the  words,  0  wretched  man  that  I  am,  toho 
shall  deliver  me  from  the  body  of  this  death!  they 
have  an  intensity  and  power  unknown  to  the 
silent  and  solitary  reader  in  his  closet.  Accord- 
ingly, as  we  know,  some  of  the  greatest  successes 
of  the  gospel  wer^  achieved  before  the  New  Testa- 
ment was  committed  to  writing,  by  the  voice  of  the 
living  preacher  alone. 


12  Importance  oi  a  Good  Delivery. 

This  fact  that  the  Lord,  for  such  reasons,  or 
dained  the  oral  preaching  of  the  gospel  as  the  greai 
means  of  salvation,  is  perhaps  the  very  strongest 
argument  that  could  be  given  for  such  a  delh  ery 
as  shall  be  adequate  to  the  truth.  For  the  reasons 
in  view  of  which  we  are  required  to  preach  the  gos- 
pel, evidently  require  that  we  should  preach  it  as 
well  as  possible;  that  is,  in  such  oral  forms  as 
shall  not  disguise,  nor  obscure,  nor  pervert,  but 
which  shall  be,  in  some  measure  at  least,  adequate 
to  the  expression  of  its  great,  world-regenerating 
ideas. 

§  8.  Bad  delivery  is  a  main  cause  of  inefficiency  in  the  pulpit. 
It  is  a  complaint  far  more  general  than  clergy- 
men themselves  are  commonly  aware,  that  their 
ministrations  are  not  clothed  with  that  power  which 
the  cause  they  advocate  demands,  but  are,  in 
fact,  characterized  by  an  unnatural  feebleness.  Some 
there  are  who  ascribe  this  to  a  lack  of  ability  in 
the  ministry ;  others  to  a  moral  cause,  namely,  that 
the  preachers  themselves  have  little  heartfelt  ex- 
perience of  the  truth  which  they  seek  to  impress 
upon  their  congregations.  But  these,  although  the 
most  obvious  suggestions,  cannot  always  be  the 
true  reasons.  For  not  unfrequently  able  and  godly 
men  are  extremely  feeble  in  the  pulpit ;  whilst 
others  wield  a  far  greater  power,  who  yet  are  not 
distinguished  from  their  brethren  either  by  talents 
or  piety.  It  is  more  rational,  as  well  as  more  char- 
itable, to  account  for  the  fact  by  that  wretched  elo- 
cution  which   is   so   common  in  the   pulpit ;  and 


Importance  of  a  Good  Delivery.  1?. 

which,  if  it  were  not  for  the  sacredness  of  its  themes, 
and  the  solemnities  of  Divine  worship,  would  not 
be  tolerated  by  any  audience  in  the  world.  For 
it  has  been  well  observed  by  one  of  the  most  a-c 
complished  pulpit  orators  of  our  time,  that  "  one 
reason  why  preaching  is  so  much  less  effective  than 
we  should  antecedently  expect  it  to  be,  is  that  there 

is  less  of  it  than  we  ordinarily  suppose Much 

of  that  which  passes  for  preaching  does  not  de- 
serve the  name.  It  may  be  called  a  poor  kind  oi 
singing,  a  tedious  method  of  drawling,  a  soporific 
way  of  reading ;  but  it  is  not  such  living  utterance 
of  thought  as  enkindles  the  eye,  such  gushing  forth 
of  emotion  as  cannot  but  have  the  effect  of  elo- 
quence  All  the  dull,  clumsy,  turgid,  weak,  in- 
sipid, and  in  any  way  affected  methods  of  delivery, 
are  to  be  subtracted  from  the  sum  total  of  what  is 
denominated  preaching ;  and  then,  how  small  the 
remainder !"  There  can  be  no  doubt  but  that  the 
prevalence  of  such  abortive  attempts  at  delivery,  is 
a  principal  cause  of  that  feebleness  in  the  pulpit 
which  is  so  much  complained  of,  and  of  that  want 
of  interest  in  the  preaching  of  the  gospel  which  is 
manifested  by  increasing  numbers  of  intelligent, 
and  otherwise  well  disposed  people,  and  which  is 
ane  of  the  most  sorrowful  facts  of  our  time. 

§  9.  Bad  delivery  is  one  of  the  most  common  causes  of  tlif 
ministerial  tliroat  disease. 

It  would  seem  then,  that  he  who  imagines  himself 
to  be  preacl  ing  the  gospel  whilst  he  violates  al- 


14  Introduction. 

most  every  law  of  oral  speech,  deceives  himself, 
and  commits  no  little  sin — a  sin  which,  like  aU 
others,  does  not  fail  to  punish  itself.  For  those 
wasting  throat  diseases,  with  which  clergymen 
are  afflicted  more  than  any  other  class  of  public 
speakers,  are  often  traceable  physiologically  to  bad 
management  of  the  voice,  to  the  violation  of  those 
laws  which  nature  has  prescribed  to  articulate 
speaking — laws  which,  like  all  others  established 
by  the  God  of  nature,  can  never  be  violated  with 
impunity.  This  view  is  confirmed  by  the  fact,  to 
which  many  can  bear  witness,  that  no  more  effec- 
tual remedy  for  these  diseases  has  been  discovered; 
than  a  thorough  course  of  sound  elocutionary  train- 
ing. 


CHAPTEE  II. 

UTILITY  OF  THE  STUDY  OF  ELOCUTION. 

§10.    The   principal  objections  to  this   study   are,  that 

delivery  cannot  be  taught,  that  the   study  of  it  does 

harm  rather  than  good,  and  that  in  order  to  be  good 
speakers  all  we  have  to  do  is  to  speak  naturally. 

It  is  a  question  which  has  been  much  disputed 
both  in  ancient  and  modern  times,  whether  a  good 
delivery  be  a  gift  of  nature,  or  an  accomplishment 
to  be  acquired  by  art.  The  number  and  respecta- 
bility of  those  who  have  maintained  the  former 
view,  and  the  plausibility  of  some  of  their  argu- 
ments, are  such  as  to  challenge  our  candid  atten- 
tion. The  principal  objections  to  this  study,  and 
those  which  have  the  most  weight  with  intelligent 
persons,  are  the  following. 

1.  Delivery  cannot  be  taught  because  it  is  irvca^xiHt 
of  analysis. 

Those  who  make  this  objection  assure  us  that 
good  speaking,  or  an  eloquent  delivery,  is  a  result 
so  extremely  complex,  and  one  that  is  due  to  such 
a  multitude  and  variety  of  interworking  causes,  that 


16  Introduction. 

it  must  forever  defy  the  most  subtle  and  powerful 
analysis,  and  defeat  all  attempts  to  reduce  it  tc 
the  laws  upon  which  it  depends :  consequently,  that 
it  cannot  be  taught  nor  learned,  and  the  study  of  it 
can  do  no  good,  but  must  prove  at  best  a  waste  oi 
time  and  labor. 

2.  TJue  study  of  elocution  cannot  fail  to  do  Jtarm. 
There  are  those,  however,  who  oppose  this  study 

on  the  higher  ground  that  it  does  harm.  These 
objectors  tell  us  that,  by  directing  the  attention  of 
the  student  to  the  manner  abstracted  from  the 
matter  of  discourse,  and  by  putting  him  under 
training  and  practice  according  to  fixed  rules,  it 
cramps  the  natural  freedom  of  speaking,  renders 
the  delivery  cold,  spiritless  and  artificial,  and  gen- 
erates awkwardness,  mannerism,  affectation,  and 
almost  every  other  vice  of  elocution.  "  Probably," 
says  Archbishop  Whately,  "  not  a  single  instance 
could  be  found  of  any  one  who  has  attained,  by  the 
study  of  any  system  of  instruction  that  has  hitherto 
appeared,  a  really  good  delivery ;  but  there  are  many 
— probably  as  many  as  have  fully  tried  the  experi- 
ment— who  by  this  means  have  been  totally  spoiled, 
who  have  fallen  irrecoverably  into  an  affected  style 
of  spouting,  worse  in  all  respects  than  their  original 
mode  of  delivery." 

3.  We  must  ignore  all  rules,  forget  that  there  is  any 
$uch  thing  as  art,  and  speak  naturally. 

Those  who  make  such  objections  tell  us  that  this 
is  the  one  sole  precept  by  the  observance  of  which 
it  is  possible  to  attain  to  good  speaking.  In  con- 
firmation of  this,  they  point  us  to  the  natural  grace 


Utility  of  the  Study  of  Elocution.       17 

and  propriety  of  common  conversation,  and  to  that 
with  which  children  express  themselves ;  and  they 
call  us  to  observe  how  all  this  is  lost,  giving  place  to 
innumerable  vices  of  elocution,  as  soon  as  the 
speakers,  whether  children  or  grown  persons,  are 
put  under  training. 

^  U .  The  influence  of  these  objections  has  been  very  great, 
and  has  led  to  the  general  neglect  of  this  study ;  hence  the 
necesity  of  refuting  them. 

The  foregoing  objections  to  the  study  of  elocu- 
tion are  extremely  plausible ;  they  are  urged  by  very 
high  authorities  in  education ;  and  they  fall  in  with 
our  natural  indolence.  Hence  they  have  exerted, 
and  do  still  exert  a  great  influence,  not  only  upon 
the  public  mind,  but  also  upon  educators  and 
speakers  themselves.  Thus  it  is  that  systematic 
study  and  methodical  training  in  this  art  have  so 
generally  fallen  into  neglect  and  disuse.  For,  as 
already  observed,  it  hardly  enters  as  an  appreciable 
element  into  the  prescribed  course  of  a  liberal  edu- 
cation. The  consequences  of  this,  however,  would 
have  been  far  worse  than  they  are,  if  it  had  not 
been  for  the  zeal  and  labors  of  professed  elocution- 
ists, giving  private  lessons  in  our  collegiate  institu- 
tions, but  who  often  have  no  regular  connection 
with  the  faculty.  The  want  of  elocutionary  train- 
ing is  especially  noticeable  in  the  education  oi 
clergymen,  who  are  instructed  to  spare  no  pains  in 
mastering  the  nicest  theological  distinctions,  until 
they  can  split  a  theological  hair  into  east,  west, 
north,  and  south  parts — an  accomplishment  which, 
however  valuable  for  purposes  of  strife  and  debate 


19  Introduction. 

cau  afford,  it  would  seem,  but  little  aid  in  proclaim 
ing  the  great  and  simple  facts  and  truths  of  the  gos- 
pel — whilst  jet  they  devote  hardly  any  time  or  labor 
to  acquiring  a  good  delivery,  without  which  it  ia 
impossible  for  them  to  preach  with  acceptability  or 
power.  Hence  the  absolute  necessity  that  we 
should  here  undertake  to  refute  these  objections, 
and  to  indicate  the  utility  of  elocutionary  studies 
and  training. 

§  12.  Elocution  is  an  art,  therefore  it  can  be  taught  and 
learned ;  that  by  which  it  is  distinguished  from  other 
arts,  does  not  make  it  an  exception ;  it  is  the  art  of  speak- 
ing, the  first  elements  of  of  which  we  learn  in  childhood 
by  imitation. 

1.  Elocution  is  an  art  because  it  conforms  to  tiue  defi- 
nition of  art. 

The  most  general  definition  of  art,  is  knowledge 
applied  to  production.  Elocution  conforms  to  this 
definition ;  for  it  applies  the  knowledge  of  vocal 
sounds  to  the  production  of  oral  discourse.  Now  it 
belongs  to  the  very  nature  of  an  art  that  it  does  not 
come  of  itself,  but  it  must  be  taught  and  learned. 
Hence  it  is  never  expected  that  any  one  should  attain 
proficiency  in  any  other  art,  such  as  music  or  paint- 
ing, war  or  surgery,  ship-building  or  shoe-making 
without  having  studied  and  learned  it.  Nor  can 
any  valid  reason  be  assigned  for  making  this  art  the 
sole  exception. 

2.  The  fact  that  it  is  an  art  which  all  must  exercise 
does  not  rtuake  it  an  exception. 

Speaking  is  distinguished  from  some  other  arts 
by  the  fact  that  it  is  one  which  all  persons  runs* 


Utility  of  the  Study  of  Elocution.        19 

exercise  or  practice,  after  some  fashion,  in  all  the 
affairs  of  life ;  and  hence  all  are  endowed,  in  a 
higher  or  lower  degree,  with  the  organs  and  faculty 
of  speech.  But  this  does  not  make  it  an  exception ; 
for  herein  it  agrees  with  other  arts,  the  art  of  think- 
ing, e.  g.  which  it  is  conceded  may  be  taught,  and 
must  be  learned.  Every  objection  from  this  source 
against  improvement  of  the  organs  and  faculty  of 
speech  by  training  and  culture,  is  therefore  equally 
valid  against  the  training  and  cultivation  of  the 
organs  and  faculty  of  thought. 

3.  The  art  of  speaking  is  essentially  an  imitative  art, 
tlue  rudiments  of  which  are  actually  taught  and  learned 
in  childhood. 

It  would  seem  to  be  impossible  to  deny  that  the 
art  of  speaking  can  be  taught  and  learned  when 
we  consider  the  significance  of  the  above  statement. 
For  elocution  is  nothing  else  but  the  art  of  speaking 
or  talking,  and  our  first  studies  and  training  in  it 
commence  in  childhood.  The  child  learns  to  form 
his  first  articulate  sounds,  and  every  step  of  his 
subsequent  progress  is  taken,  by  means  of  the 
closest  observation  and  imitation  of  that  which  he 
hears  from  the  lips  of  his  mother  or  nurse  ;  and  he 
continues  to  be  an  infant,  that  is,  he  remains  dumb, 
if  he  does  not  hear  others  speak.  By  repeated 
efforts  to  imitate  the  sounds  he  hears,  with  many 
failures,  he  slowly  gains  a  partial  control  of  the 
organs  of  speech,  until  ho  learns  to  express  himself 
as  they  do  who  are  his  models  and  instructors, 
copying  all  their  faults  as  accurately  as  their  excel- 


20  Introduction. 

lences.  There  is  indeed  a  certain  chaiacteristic  grace 
in  all  the  utterances  of  childhood,  which  will  require 
hereafter  to  be  explained.  But  the  point  to  be 
emphasized  here,  is  that  all  these  are  properly 
and  essentially  elocutionary  studies  and  exercises, 
by  which  the  child  takes  his  first  steps,  and  makes 
his  first  progress,  in  the  art  of  speaking.  Why 
should  these  exercises,  or  this  pi  ogress,  be  ar- 
rested when  he  becomes  a  boy,  or  young  man  ? 
Under  better  instruction  and  better  models  than 
have  been  afforded  by  his  mother  or  nurse,  or  other 
children  with  whom  he  has  associated,  why  should 
he  not  correct  the  faults  he  has  learned  from  them, 
and  continue  to  make  progress  until  he  attains  to 
the  highest  excellence  in  speaking  ?  For  the  pro- 
cess is  the  same  ;  and  that  is  no  sound  instruction 
or  training  in  elocution,  which  does  not  aim  to  de- 
velop in  the  student  the  same  habits  of  close  obser- 
vation and  vocal  imitation  by  which  he  learned  to 
speak  at  first,  and  without  which  he  would  have  re- 
mained forever  dumb. 

'i  13.  The  phenomena  of  delivery  admit  of  adequate  analysis— 
presnmed  from  its  analogy  to  other  arts,  and  proved  from 
the  fact  that  they  have  been  successfully  analyzed— a 
complete  analysis  not  necessary. 

1.  It  may  be  presumed  that  the  'phenomena  of  delivery 
admit  of  analysis  from  the  analogy  of  elocution  to  other 
arts. 

The  phenomena  of  the  most  eloquent  delivery 
are  hardly  more  complicated  than  those  of  poetry, 
music,  painting  or  sculpture  ;  yet  this  objection  is 


Utility  op  the  Study  of  Elocution.        21 

not  urged  against  instruction  and  training  in  these 
arts.  The  music  of  a  full  orchestra,  e.  g.  is  a  won- 
derfully complicated  result ;  yet  it  admits  of  a  per- 
fect analysis,  and  even  of  exact  notation,  by  the  aid 
of  which  it  can  be  communicated  through  instruc- 
tion, and  reproduced  in  precisely  the  same  form, 
and  with  similar  effects,  at  pleasure.  Why  should 
it  not  be  equally  possible  to  analyze  the  phenomena 
of  delivery,  and  thereby  to  discover,  so  as  accur- 
ately to  describe  and  note  what  that  is  which  makes 
one  man's  speaking  so  much  better  than  another's, 
so  that  it  may  be  recognized  at  sight,  and  repro- 
duced at  pleasure  ? 

2.   These  pJwnomena  have  been  successfully  analyzed. 

But  we  are  not  left  to  depend  solely  on  the  fore- 
going analogy.  For  that  it  is  possible  thus  to  ana- 
lyze, describe,  and  classify  the  excellences  as  well 
as  the  faults  of  elocution ;  to  explain  the  different 
varieties  and  shades  of  expression  which  give  effect 
not  only  to  common  discourse,  but  also  to  the  most 
impassioned  eloquence — that  it  is  possible  to  reduce 
the  qualities  of  good  speaking  to  the  principles  and 
laws  upon  which  they  depend,  and  to  deduce  from 
these  laws  a  body  of  rules  for  the  purpose  of  in- 
struction, training  and  practice  in  the  art,  precisely 
as  in  the  case  of  musical  notation  and  exercise — 
this  work  has  been  actually  accomplished  in  great 
part  by  an  American  author,  Dr.  James  Bush,  in  his 
profound  and  original  treatise  on  the  human  voice  ; 
in  which  we  have  already  a  truly  philosophical 
foundation  for  the  whole  art  of  elocution. 


22  Introduction. 

3.  A  complete  analysis  is  unnecessary. 

JbJut  if  it  were  true  that  such  a  minute  and  ex- 
tended analysis  as  is  required  in  music  were  impos- 
sible in  elocution,  it  would  not  follow  that  this  art 
cannot  be  taught  nor  learned.  For  such  an  analy- 
sis is  not  even  desirable,  except  perhaps  for  the 
teacher,  in  whose  hands  even  it  is  liable  to  very  grave 
abuse.  A  too  minute  analysis,  and  a  great  multipli- 
cation of  rules,  as  we  shall  see  hereafter,  is  a 
very  serious  error  in  teaching  elocution — an  error 
which  is  the  principal  source  of  those  vices  of  deliv- 
ery which  are  justly  chargeable  to  study  and  train- 
ing in  this  art.  All  that  can  be  made  profitable  to 
the  practical  student  is  a  sound  and  broad  analysis 
of  the  Sources  of  power  in  delivery — which  has  never 
before  been  attempted  in  any  work  on  elocution — 
together  with  an  exhibition  of  the  principal  Elements 
of  power,  that  is,  of  the  leading  excellences  to  be 
cultivated,  in  contrast  with  the  most  common  and 
glaring  faults  to  be  corrected.  The  attempt  to  go 
beyond  this  into  very  minute  details,  which  is  a 
general  characteristic  of  previous  works  on  this  sub- 
ject, cannot  fail  to  be  attended  with  many  bad  re 
suits. 

§  11.  The  inherent  difficulties  of  this  art,  arising  from  the 
numerous  mental  operations  which  must  be  carried  on 
simultaneously,  and  many  of  them  as  sub-processes,  are 
such  that  they  cannot  be  overcome  without  study  and 
practice. 

They  who  tell  us  that  in  order  to  speak  well  al! 
we  have  to  do  is  to   speak  naturally,  do  indeed 


Utility  of  the  Study  of  Elocution.        23 

characterize  by  this  expression  the  highest  pos- 
sible attainment  in  elocution ;  but  they  ignore  all 
the  facts  of  experience  by  assuming  that  to  speak 
naturally  is  just  the  easiest  thing  in  the  world 
They  might  as  well  inform  us  that  in  order  to  be- 
come great  painters,  or  musicians,  we  have  nothing 
to  do  but  to  paint  naturally,  or  sing  naturally,  or 
play  on  the  violin  naturally.  This  precept,  so  "flip- 
pantly given,  leaves  out  of  view  all  the  difficulties 
of  the  art ;  some  of  which  are  the  following. 

1.  The  number  and  variety  of  the  mental  operations 
which  must  be  carried  on  simultaneously  in  all  good 
speahing,are  very  great. 

(1.)  Those  of  invention  and  style,  or  of  memory,  or 
of  reading.  .For  according  as  we  speak  extempore, 
or  memoriter,  or  from  manuscript,  we  have  either 
the  processes  of  invention  and  style,  with  all  the  vast 
multitude  of  subordinate  operations  which  these 
imply ;  or  those  of  remembering  what  we  have  com- 
mitted to  memory  ;  or  those  of  taking  in  from  the 
manuscript  'through  the  eye,  the  thoughts  which  we 
have  to  deliyer  to  others. 

(2.)  We  have  to  keep  steadily  in  view  the  object 
which  we  aim  to  accomplish  in  the  minds  of  the 
audience. 

(3.)  We  must  have  a  perception  and  feeling  oi 
the  meaning  of  each  word  in  itself,  and  in  all  its 
grammatical  relations  and  connections,  at  the  ver^ 
moment  of  speaking  it. 

(4.)  We  must  ourselves  be  affected  with  the  senti- 
ment.    For  it  is  indispensable  to  success  in  orator j 


24  Intkoduction. 

that  our  own  hearts  should  be  deeply  and  keenl} 
effected  with  all  the  emotions  and  passions  which 
we  seek  to  enkindle  in  the  hearts  of  others. 

(5.)  We  must  hold  the  audience  in  our  mental 
grasp,  in  the  full  and  strong  consciousness  that  we 
are  speaking  directly  to  their  minds. 

All  these  mental  operations,  which  will  require  to 
be  fully  unfolded  hereafter  in  their  relations  to  de- 
livery, together  with  a  multitude  of  others,  must  be 
earned  on  simultaneously  in  all  good  speaking.  Now 
it  is  simply  preposterous  to  assume  that  this  can  be 
done  by  any  one,  without  his  ever  having  learned 
to  do  it. 

2.  Many  of  these  and  other  mental  operations  have 
to  be  carried  on  almost  unconsciously,  and  suppressed 
entirely  from  the  oral  expression. 

This  is  the  great  difficulty  which  must  be  over- 
come in  order  to  speak  well,  compared  with  which 
all  others  are  as  nothing.  In  order  to  understand 
it  we  must  glance  here  at  what  will  require  to  be 
more  fully  developed  hereafter,  namely,  that  all 
speaking,  whether  good  or  bad,  expresses  the  lead- 
ing or  predominant  operations  of  the  speaker's 
mind  :  and  if  those  operations  predominate  which 
properly  belong  to  the  giving  out  or  expression  oi 
thought,  the  speaking  can  hardly  fail  to  be  good- 
but  if  those  which  do  not  properly  belong  to  suet 
expression  are  predominant,  the  speaking  will  ex- 
press these,  and  cannot  but  prove  an  utter  failure. 
The  following  examples  will  illustrate  this  state- 
ment. 


Utility  of  the  Study  of  Elocution.        23 

(1.)  The  operations  of  memory  must  be  suppressed. 
In  speaking  from  memory,  the  whole  intellect- 
ual process  of  remembering  what  is  to  be  de- 
livered must  be  kept  from  manifesting  itself;  no 
sign  of  it  can  be  allowed  to  appear  in  the  vocal  ex- 
pression. Hence  this  laborious  operation,  to- 
gether with  all  the  anxieties  attending  it,  must 
never  become  prominent  in  the  consciousness  of 
the  speaker ;  it  must  be  carried  on  strictly  as  a  sub- 
process  :  otherwise  it  will  confuse  those  other  men- 
tal operations  which  properly  belong  to  the  expres- 
sion of  thought,  and  either  mar  or  destroy  the 
effect  of  the  delivery. 

(2.)  The  operations  of  invention  and  st}'le  must  be 
suppressed.  In  speaking  extempore,  all  these  labori- 
ous operations  have  to  be  carried  on,  for  the  most 
part,  unconsciously ;  otherwise  the  speaking  will 
express  them,  and  little  else. 

(3.)  The  operations  of  reading  must  be  suppressed. 
The  case  is  similar  in  speaking  from  manuscript. 
All  the  mental  operations  of  taking  in  the  sense 
through  the  eye,  which  are  in  fact  the  reverse  of 
those  which  belong  to  giving  it  out,  must  be  carried 
on  unconsciously  ;  for  when  they  become  the  lead- 
ing operations,  the  speaking  expresses  them,  and 
thus  becomes  the  reverse  of  true  expression. 

Here  now  we  have  the  great  difficulty  to  be  over- 
come. It  is  that  of  carrying  on  all  such  mental 
operations  strictly  as  sub-processes,  and  for  the 
most  part  unconsciously,  in  order  that  they  may 
not  appear  in  the  speaking  ;  together  with  that  of 
keeping  all  the  mental  faculties  intently  engaged 


26  Introduction. 

in  those  operations  which  properly  belong  to  the 
expression  of  thought,  and  to  the  work  of  impress- 
ing it  upon  others.  This  is  the  grand  obstacle  to 
excellence  in  speaking,  which,  if  there  were  no 
others,  would  make  instruction,  training  and  prac- 
tice indispensable  to  success. 

§  15.  The  objection  from  the  grace  and  propriety  of  children 
is  refuted  by  the  considerations,  that  children  do  not 
speak  well  in  the  sense  required  by  this  objection,  that 
they  do  not  have  to  grapple  with  the  difficulties  of  the 
art,  and  that  the  grace  which  they  do  manifest  passes 
away  with  the  simplicity  of  childhood. 

Nothing  has  tended  more  to  disguise  and  conceal 
the  preceding  difficulties,  and  to  cherish  the  idle 
notion  that  it  is  the  easiest  thing  in  the  world  to 
speak  well,  than  the  reference  so  frequently  made 
to  the  natural  grace  and  propriety  with  which 
children  express  themselves.  Hence  it  has  been 
rashly  inferred,  in  the  face  of  all  experience,  that 
they  would  continue  to  do  so  if  they  were  left  to 
themselves,  and  that  all  the  awkwardness,  man- 
nerism, affectation,  and  other  faults,  which  they 
manifest  as  soon  as  they  are  put  under  methodical 
training,  are  due  to  this  cause.  We  are  now  pre- 
pared to  appreciate  the  force  of  this  objection. 

1.  Children  do  not  speak  well  in  the  sense  which 
th  's  objection  requires. 

There  is,  in  deed,  a  natural  grace  and  beauty  in  al- 
most everything  which  children  say  and  do ;  but 
this  appears,  and  is  almost  or  quite  as  charming, 
in  their  defects  and  errors,  as  it  is  when  they  act 


Uiility  or  the  Study  of  Elocution.       27 

and  speak  correctly.  Children  speak  as  they  hear 
and,  as  we  have  seen,  they  copy  the  faults  of  thoii 
models  as  accurately  as  they  do  their  excellences 
Few  of  them  are  so  fortunate  as  to  have  perfbci 
models  in  their  nurses,  or  mothers,  or  other  children 
with  whom  they  associate.  Hence  they  commonlv 
articulate  feebly  and  indistinctly.  They  make  mis- 
takes in  pronunciation  and  emphasis.  They  err  in 
intonation  and  inflection,  and  in  a  thousand  othei 
particulars  These  defects  and  errors  in  children's 
speaking  are  commonly  such  that  if  they  were 
manifested  in  a  public  speaker,  he  could  hardly  be 
understood,  and  certainly  would  not  be  listened  to. 
But  because  they  are  the  mistakes  of  children, 
whom  we  do  not  expect  to  speak  otherwise,  and  are 
accompanied  by  a  certain  infantine  simplicity  and 
grace,  they  either  pass  unnoticed,  or  perhaps  are 
regarded  as  beauties. 

2.  Children  do  not  have  to  grapple  with  the  real 
difficulties  of  the  art. 

This  explains  in  part  the  fact,  in  so  far  as  it  is 
one,  that  children  do  speak  with  a  certain  propri- 
ety and  grace.  For  they  do  not  have  to  express 
any  of  those  subtle,  extended  and  involved  pro- 
cesses of  thought,  which  belong  to  public  speaking: 
nor  do  they  encounter  those  difficulties  of  predomi- 
nant and  sub-processes,  which  have  been  described 
(§14 — 1,  2).  This  is  equally  true  of  grown  persons  in 
common  conversation.  In  neither  case  do  the 
speakers  have  to  carry  on  as  sub-processes,  so  that 
the}  shall  not  appear  in  the  expression,  any  labori- 


28  Introduction. 

ous  operations  of  invention  a  ad  style,  or  of  reinem 
bering.  or  of  taking  in  the  sense  of  a  manuscript 
Hence  it  is  comparatively  easy  for  them  to  speak 
without  those  peculiar  faults  which  are  so  common 
in  oratory,  But  as  soon  as  any  of  these  difficulties 
are  encountered,  whether  in  the  exercises  of  the 
class-room,  or  in  the  actual  attempt  of  untrained  or 
inexperienced  persons  to  address  a  public  assembly, 
all  these  faults  immediately  appear ;  nor  can  they 
in  most  cases  be  corrected  otherwise  than  by  sys- 
tematic instruction  and  practice. 

3.  TJie  grace  of  childhood  in  speaking  as  in  otlier 
things  naturally  passes  away. 

The  principal  reason  why  children  are  graceful 
in  speaking,  is  one  which  shows  us  that  this  grace 
cannot  continue ;  that  it  is  naturally  evanescent. 
For  it  is  the  same  thing  that  makes  them  graceful 
and  charming  in  everything  else,  namely,  their 
simplicity,  or  innocence,  that '  sparkle  of  the  purity 
of  man's  first  estate.'  Their  self-consciousness  and 
evil  passions  are  yet  undeveloped,  and  their  life  is 
one  of  almost  pure  spontaneity.  ■  The  command- 
ment has  not  yet  come  to  them,  and  they  are  still 
alive  without  the  law ;  but  the  commandment  will 
come  to  them,  and  they  will  die  under  it.'  The  de- 
velopment of  their  self-consciousness  and  corrupt 
nature  is  inevitable ;  and  as  this  takes  place  it 
naturally  manifests  itself  in  constraint,  awkwardness, 
mannerism,  affectation,  and  other  faults,  not  only 
in  speaking,  but  also  and  equally  in  every  otlier 
department  of  their  life   and  conduct.     They  lose 


Utility  of  the  Study  of  Elocution.       29 

their  simplicity,  and  the  grace  of  it,  in  everything 
else,  as  well  as  in  speaking.  In  order  to  prevent  as 
much  as  possible  these  sad  consequences  of  the  com- 
mon fall,  to  correct  these  natural  departures  from 
rectitude  and  propriety,  we  put  them  under  instruc- 
tion in  manners  and  morals,  just  as  we  do  in  speak  • 
ing.  Left  to  themselves,  what  would  become  of 
their  morals,  or  manners  ?  As  little  can  we  expect 
from  them  in  speaking,  apart  from  that  instruction 
and  tra  ning  which  are  as  indispensable  in  the  one 
case  as  in  the  other. 

§  16.  The  objection  drawn  from  natnral  eloquence  is  refuted 
by  the  considerations,  that  men  without  education  have 
excelled  in  other  arts,  that  in  everything  nature  or 
genius  holds  the  first  place,  that  the  so-called  natural 
orators  have  risen  to  excellence  by  self-culture,  and  thai 
the  possession  of  superior  endowments  is  the  strongest 
reason  for  cultivating  them. 

1.  Men  without  education  have  excelled  in  other  voca- 
tions. 

The  preceding  views  do  not  require  us  to  deny 
the  obvious  fact  that  some  men,  without  much  pre- 
vious study  or  preparation,  have  attained  to  great 
excellence  as  public  speakers.  For  this  fact  is  no 
argument  against  the  utility  of  the  study  of  elocu- 
tion. Taken  as  such  it  proves  too  much.  For  in 
every  other  sphere  of  life,  or  vocation,  persons  are 
found  who,  without  the  advantages  of  a  regular 
education,  and  with  little  special  training  or  prac- 
tice, excel  others  who  have  been  most  highly  edu- 
cated, and  most  carefully  prepared  for  their  special 
professions  or  pursuits.     If  this  objection  had  any 


30  Introduction 

force,  it  would  be  equally  valid  against  all  educa- 
tion, and  against  all  study  and  methodical  training 
for  the  professions,  and  other  avocations  and  pur- 
suits. 

2.  In  everything  nature  or  genius  holds  the  fir  si 
■place — poeta  nascitur. 

This  principle  is  freely  conceded,  and  it  is  one 
which  is  especially  applicable  to  the  liberal  arts. 
For  this  is  the  true  understanding  of  the  above 
Latin  proverb,  which  is  of  much  wider  import  and 
application  than  is  indicated  by  its  form.  It  is  in 
fact  a  highly  condensed  expression,  involving  that 
figure  of  speech  in  which  a  part  is  put  for  the 
whole.  For  here  poet  stands  for  artist.  It  signifies, 
therefore,  that  in  order  to  attain  to  excellence  in 
any  liberal  art,  it  is  necessary  to  be  born  with  a 
certain  genius  or  aptitude  for  it.  This  applies  of 
course  to  elocution.  Hence  the  possession  of  such 
extraordinary  endowments  would  be  a  sufficient 
explanation  of  that  great  power  in  delivery  which 
has  been  attained  by  some  persons  without  much 
previous  study  or  preparation.  For  great  genius 
is  a  great  thing.  It  gives  its  possessor  many  advan- 
tages over  other  men,  and  enables  him,  with  com- 
paratively little  effort  or  labor,  to  achieve  more  than 
they  can  by  the  utmost  diligence,  and  most  stren- 
uous toil  of  a  life-time.  Such  men  may  perhaps 
dispense  with  rules  and  regular  training  ;  for  it  is 
the  high  prerogative  of  genius  to  be  a  law  to  itsel£ 
and  to  give  laws  to  other  less  gifted  souls.  But 
all  this  surely  is  no  argument  against  instruction 


Utility  of  the  Stud/  of  Elocution.        31 

and  training,  even  in  such  cases,  much  less  in  thai 
of  those  who  are  less  bountifully  endowed. 

3.   T7ie  so-called  natural  orators  have  risen  to  excel* 
knee  by  laborious  self -culture — orator  Jit. 

We  have  in  this  proverb  the  same  figure  of 
speech  as  before ;  for  here  orator  also  stands  for 
artist  Hence  the  words  signify  that  the  artist 
becomes  truly  such,  that  is,  he  attains  to  the  high- 
est excellence,  only  through  much  study  and  culture. 
This  holds  equally  good  in  the  case  of  the  so-called 
natural  orators,  who,  as  we  know  from  their  bio- 
graphies, have  always  found  much  private  study, 
and  laborious  self-culture,  indispensable  to  compen- 
sate for  the  deficiencies  of  their  early  education. 
Of  this  we  have  many  illustrious  examples.  Thus 
Patrick  Henry,  one  of  the  most  eloquent  of  unedu- 
cated orators,  whilst  yet  a  country  shop-keeper,  is 
known  to  have  made,  for  several  years,  the  art  of 
speaking  his  daily  and  systematic  study  and  prac- 
tice. Henry  Clay  also,  whilst  yet  a  youth  employed 
upon  a  farm,  laboriously  cultivated  his  great  natural 
gifts  by  committing  to  memory  the  finest  passages 
of  eloquence,  and  speaking  them  in  the  open  air  to 
imaginary  audiences.  To  this  practice  he  owed,  in 
part,  no  doubt,  that  great  strength,  and  matchless 
sweetness  of  voice,  with  which  he  charmed,  for  so 
many  years,  the  Senate  of  the  United  States 
Other  distinguished  examples  might  easily  be  given; 
and  a  similar  explanation, probably, of  almost  all  the 
cases  in  which  excellence  in  speaking  has  appeared 
to  be  the  result  of  the  uncultivated  gifts  of  nature. 


32  Introduction. 

4  The  possesion  of  superior  endowments  or  cvpti 
tildes  for  any  pursuit,  is  the  strongest  reason  for  cuUir 
van  ig  litem. 

It  is, indeed,  surprising  that  intelligent  men  can 
be  found,  who  are  bold  enough  to  advocate  the  no- 
tion that  we  ought  to  rely  upon  the  gifts  of  nature 
alone  for  excellence  in  the  art  of  speaking,  whilst 
in  every  other  pursuit  of  life  the  principle  here 
stated  is  universally  conceded.  "When,  e.  g.  a  youth 
manifests  a  strong  natural  bent,  or  genius,  or  apti 
tude  for  engineering  or  machinery,  medicine  or  law, 
this  is  never  accepted  as  a  reason  why  he  should 
rely  upon  his  superior  natural  endowment ;  but  it 
is  always  regarded  as  a  strong  reason  why  he 
should  be  pub  to  the  study  and  practice  of  that  pur- 
suit for  which  nature  has  best  adapted  his  faculties 
By  this  means  we  expect  him  to  attain  to  excel- 
lence, and  never  without  it.  The  argument  surely 
ought  to  be  equally  valid  where  there  is  a  superior 
genius  for  public  speaking. 


§17.  The  rices  of  elocution  often  ascribed  to  study  and 
training,  are  seldom  legitimately  due  to  this  cause,  but 
mostly  to  the  inherent  difficulties  of  the  art,  to  false  sys- 
tems of  instruction,  to  the  pendantry  of  the  student,  to 
inadequate  training,  and  are  corrected  by  thorough 
training. 

1.  The  yises  in  which  the  study  of  elocution  has  a 
bad  effect  are  comparatively  rare. 

It  may  be  conceded  that  there  are  some  cases  in 
which  this  study  seems  to  have  a  permanently 
'lamaging  effect  upon  the  delivery;  but  these  are 


UTILITY   OF  THE  STUDY  OF  ELOCUTION.  38 

believed  to  be  comparatively  rare,  and  that  it  is 
their  rarity  which  makes  them  so  conspicuous  as 
to  give  any  plausibility  to  the  objections  which  are 
drawn  from  this  source.  For  whatever  Archbishop 
Whately  may  have  found  to  be  true  in  England, 
with  respect  to  the  numbers  who  were  "utterly 
spoiled,"  it  is  perfectly  certain  that  in  this  country, 
as  a  general  thing,  our  poorest  speakers  are  those 
who  have  neglected,  and  our  best  speakers  are 
those  who  have  most  laboriously  availed  themselves 
of  the  advantages  of  study,  training  and  practice 
in  this  art.  The  truth  is  that  the  faults  which  are 
often  ascribed  to  this,  are  mostly  due  to  other 
causes,  the  principal  of  which  require  to  be  here 
enumerated  and  explained. 

2.  These  vices  are  due  chiefly  to  the  inherent  diffi- 
culties of  the  art. 

Some  of  these  difficulties  have  been  already  ex- 
hibited (§14 — 1,  2).  They  are  first  encountered 
when  the  student  is  put  under  training ;  and 
hence  it  is  erroneously  inferred  that  the  faults 
which  then  manifest  themselves,  are  due  to  the 
training  itself.  But  what  proves  that  this  is  not 
so,  is  that  these  faults  are  sure  to  appear,  all  the 
same,  in  every  unpracticed  attempt  to  speak  hi 
public.  Let  any  one  who  has  never  tried  it  under- 
take to  address  a  public  assembly,  and  he  will  soon 
discover  how  easy  a  thing  it  is  to  "  speak  naturally  " 
and  without  these  faults — faults  which  are  really 
due  to  the  inherent  difficulties  of  the  art.  In  ordei 
to  correct  them   we  have  to  resort  to  the  same 


34  Introduction 

means  which  are  found  to  be  indispensable  in  ali 
other  arts,  namely,  instruction,  training  and  prac- 
tice. 

3.  They  are  partly  due  to  false  systems  of  instruo 
,ion, 

In  elocution,  as  in  all  other  arts,  false  systems  and 
wrong  methods  of  instruction  could  not  fail  to  come 
into  vogue,  nor  to  work  more  or  less  mischief.  Ac- 
cordingly, in  many  of  the  books  which  treat  of  this 
subject,  and  which  are  now  before  the  public,  there 
is  that  very  serious  error  which  has  been  already 
indicated  (§  13 — 3),  and  which  consists  in  a  weari- 
some minuteness  of  detail,  and  multiplication  of 
rules,  to  such  an  extent  that  it  is  hardly  possible 
they  should  be  remembered,  much  less  that  they 
should  become  inwrought  into  the  mind  of  the  stu- 
dent, so  that  the  observance  of  them  should  not 
even  be  a  matter  of  consciousness.  A  single  pro- 
fessor of  commanding  ability  and  high  position,  is 
known  to  have  exerted  in  his  day  a  wide-spread 
deleterious  influence  by  means  of  such  a  depraved 
system,  which  he  elaborated  and  taught.  He  cer- 
tainly did  *  spoil '  a  considerable  number  of  very 
promising  young  men.  The  peculiar  manner  of  his 
pupils  made  it  easy  to  recognize  them  wherever 
they  were  heard.  But  all  this,  it  must  be  remem- 
bered, is  no  less  true  of  the  other  arts,  and  even  of 
science  and  morals,  than  it  is  of  elocution ;  and 
if  it  were  not,  it  could  be  no  argument  against 
sound  instruction,  and  right  methods  of  training 
and  practice. 


Utility  of  the  Study  of  Elocution.       3o 

4.  These  faults  are  sometimes  due  to  the  incorrig- 
ible pendantry  of  the  student 

Some  men  are  born  poets,  others  are  born  ped- 
ants. Now  pedantry  consists  in  doing  everything 
according  to  rule,  irrespective  of  those  innumerable 
circumstances  which  modify  the  application  of  rules. 
The  genuine  pedant  can  never  forget  his  rules,  even 
for  a  moment,  nor  act  from  the  dictates  of  common 
senue,  nor  from  the  inspirations  of  genius.  When 
such  a  man  comes  to  the  study  of  elocution,  the 
rules  of  the  art  take  full  possession  of  his  mind,  to 
the  exclusion  of  the  object  of  speaking,  the  matter 
of  discourse,  and  all  those  mental  operations  which 
properly  belong  to  the  expression  of  thought ;  for 
which  he  might  have  had  some  place  in  his  mind  if 
he  had  never  heard  of  the  rules  or  precepts  of  the 
art.  To  such  a  person  the  systematic  study  of  this, 
or  of  any  other  liberal  art,  can  do  little  good.  His 
genius,  if  such  it  can  be  called,  is  wholly  mechan- 
ical; and  the  less  he  knows  of  such  matters  the 
beti  er  it  will  be  for  him.  But  all  this  again  is  evi- 
denfcly  no  argument  against  the  study,  by  generous 
young  men,  of  this  liberal  and  beautiful  art  of  public 
speiiking. 

5  These  faults  are  due  in  fine  to  inadequate  train- 
ing. 

Bar  such  training  not  only  leaves  the  natural 
faulis  of  speaking  uncorrected,  but  it  often  aggra- 
vates them.  This  result  is  necessarily  incident  to 
the  incipient  stages  of  the  training  period.  But 
fckia  also  is  equally  applicable  to  all  other  arts  and 


86  Introduction. 

pursuits.  For  whatever  we  are  not  accustomed  U: 
do  embarrasses  us  when  we  begin  it.  If  we  have 
already  made  some  irregular  progress  in  the  exer- 
cise of  any  art,  systematic  study  and  training,  how- 
ever indispensable  to  the  perfect  mastery  of  it,  will, 
at  first,  retard  our  progress.  Thus,  if  a  child  has 
learned  to  read  in  some  imperfect  way,  without 
dividing  the  words  into  syllables,  such  a  division 
will,  at  first,  greatly  embarrass  him.  Syllabication, 
though  confessedly  useful  to  learners,  will  puzzle 
rather  than  aid  those  who  have  learned  to  read 
without  it.  In  like  manner,  a  person  who  has 
learned  to  "  sing  by  ear,"  when  he  first  begins  to 
"  sing  by  note,"  will  not  for  awhile  be  able  to  sing 
as  well  as  before.  For  whilst  the  precepts  and 
rules  of  any  art  are  new  to  the  mind,  and  it  re.quires 
a  self-conscious  effort  to  put  them  in  practice,  of 
course  there  can  be  no  freedom  nor  power.  But 
this  is  no  more  than  to  say  that  whilst  a  child  is 
learning  to  read,  it  cannot  read  well — surely  it 
would  be  very  wonderful  if  it  could. 

6.    Thorough    training    corrects    these  faults — ars 
est  celare  artem. 

This  is  true  in  elocution,  as  in  all  other  arts 
Freedom  and  power,  the  highest  blossoms  and  ripe 
fruit  of  art,  are  not  attained  until  the  prescribed 
rules,  methods  and  processes  are  rendered  perfectly 
famihar,  inwrought,  so  to  speak,  into  the  very  struc- 
ture of  the  mind,  so  that  the  observance  of  them  ia 
no  longer  a  matter  of  consciousness  or  constraint 
Thus  art  becomes  a  second  nature ;  or  rather  i* 


Utility  of  the  Study  of  Elocution.       37 

enables  nature  to  manifest  herself  with  her  original 
freedom,  purity  and  power.  For  evermore  it  is 
the  true  aim  and  last  attainment  of  art,  to  bring  us 
back  to  nature,  from  which  we  have  wandered  far 
away  through  ignorance  and  sin.  Artiiicialness  is 
the  characteristic  of  defective  art.  Thus  a  person 
of  good  natural  ear  and  voice,  who  sings  without 
art,  but  with  a  certain  grace  and  simplicity,  and 
gives  to  the  listeners  a  certain  degree  of  pleasure, 
but  who,  when  placed  under  instruction  and  train- 
ing, begins  to  manifest  awkwardness  and  constraint, 
comes  forth  at  last,  when  the  work  of  art  is  per- 
fected, with  the  freedom  and  power  of  a  Jenny  Lind, 
to  charm  and  bless  the  world.  The  tendency  of 
systematic  and  thorough  study  and  training  is  to 
the  production  of  similar  results  in  the  wider  and 
nobler  sphere  of  eloquence. 


§18.  Elocution  has  great  educating  power  because  it  is  a 
liberal  art,  and  because  it  brings  t 
closest  communion  with  great  minds 


liberal  art,  and  because  it  brings  the  student  into  the 


A  positive  argument  of  great  force  for  the  utility 
of  this  study,  is  derived  from  its  educating  or 
developing  power.  This  is  certainly  as  great  as 
that  of  any  other  branch  of  a  liberal  education. 
Indeed,  for  the  development  of  personal  power, 
elocution  has  the  advantage,  in  certain  respects, 
over  most  other  studies.  This  statement,  although 
contrary  to  the  opinion  of  most  educators,  will  be 
confirmed  by  those  who  have  had  any  experience 
in  teaching  elocution,  and  who  cannot  fail  to  have 


■  OF  THE 

UNJVPPQITV 


38  Introduction. 

often   observed  a  remarkable   and  rapid   develop 
ment  in  generous  young  men,  when  they  appty 
themselves  to  its  exercises.     This  seems  to  be  due 
to  the  two  following  among  other  causes. 

1.  As  a  liberal  art,  it  calls  forth  a  nobler  exercise  of 
the/acuities  tlian  mere  science. 

Almost  everything  in  the  common  curriculum  of 
a  liberal  education,  except  the  arts  of  rhetoric  and 
elocution,  belongs  to  science.  Now  science  termin- 
ates in  mere  knowing,  whilst  art  applies  knowledge 
to  the  production  of  what  did  not  before  exist ; 
that  is  to  say,  science  is  simply  determinative, 
whilst  art  is  creative.  Art  therefore  is  the  crown 
of  science,  implying  a  nobler  exercise  of  the  facul- 
ties ;  for  as  faith  without  works  is  dead,  so  also  is 
knowledge.  Hence  the  exercise  of  a  liberal  art 
cannot  fail  to  exert  a  stronger  influence  in  the  de- 
velopment of  personal  power,  than  any  mere  intel- 
lectual pursuit. 

2.  It  brings  the  student  into  the  closest  communion 
with  great  minds. 

In  this  study  the  student  is  required  to  store  his 
memory  with  the  finest  passages  of  eloquence  and 
poetry ;  the  influence  of  which  in  the  culture  of  the 
esthetic,  moral,  and  other  faculties,  is  necessarily 
very  great.  But  in  order  to  render  such  passages 
with  their  proper  effect,  he  must  study  to  enter  into 
their  sentiments,  to  catch  the  spirit  of  their  au- 
thors. By  the  strenuous  exercise  of  his  imagina- 
tion, intellect  and  sensibilities,  he  must  learn  tc 
place  himself  in    their   circumstances,  to   possess 


Utility  of  the  Study  of  Elocution.       30 

himself  of  their  thoughts,  to  appreciate  the  force  oi 
their  arguments,  and  to  nil  himself  with  the  mag- 
nanimity and  sublimity  and  pathos  of  their  senti- 
ments ; — in  a  word,  he  must  learn  to  think  as  they 
thought,  and  feel  as  they  felt,  at  the  very  moment 
when  they  charmed  or  fired  the  hearts  of  great 
national  assemblies,  or  poured  forth  those  imperish- 
able strains  which  forever  enchant  the  world.  This 
is  a  fundamental  principle  in  all  sound  elocutionary 
instruction  and  training.  The  student  can  do  noth- 
ing in  this  art,  except  in  the  degree  in  which  he 
learns  to  do  this.  In  this  way  he  comes  into  the 
most  intimate  communion  with  the  great  minds  of 
the  world ;  he  is  '  made  to  drink  into  their  spirit,' 
he  nourishes  himself  with  their  power,  and  grows 
strong  with  their  strength.  There  is  no  other 
study  or  exercise  which  produces  the  same  effect  in 
an  equal  degree.  Even  in  the  translation  of  the 
finest  passages  of  the  ancient  classics,  the  student 
cannot  so  fully  enter  into  the  spirit  of  his  author. 
For  if,  in  rendering  a  strain  of  eloquence  from 
Demosthenes  or  Cicero,  he  should  come  to  feel  as 
the  orator  felt  whilst  delivering  it,  he  would  be 
prompted  to  speak  it  as  the  orator  spoke  it,  instead 
of  merely  reading  it;  and  the  least  approach  to 
such  a  delivery  in  the  translations  of  the  clas* 
room,  would  assuredly  bring  down  the  house  1 


4.0  iNTItOLUCTION. 

i  19.  The  final  argument  for  the  utility  of  this  study  Is  derived 
from  the  example  and  authority  of  the  great  masters  oi 
eloquence. 

If  all  other  arguments  for  the  utility  of  the  study 
of  elocution  should  fail,  the  example  and  authority 
of  the  great  masters  and  teachers  of  eloquence 
ought  alone  to  be  conclusive. 

1.  In  modern  times  we  know  that  the  most  eloquent 
speakers  have  commonly  been  the  most  diligent  in 
the  study  and  practice  of  this  art  (§  16 — 3). 

2.  The  ancient  teacJwrs  carried  their  pupils  through 
such  a  protracted  and  laborious  course  of  exercises 
in  elocution  as  appears  to  us  at  this  day  almost 
incredible  (§  97—3). 

3.  Demostlienes  was  a  proverb  for  the  rigor  of  his 
elocutionary  exercises.  In  order  to  strengthen  his 
naturally  feeble  voice  and  articulation,  he  accus- 
tomed himself  to  declaim  with  pebbles  in  his  mouth, 
whilst  walking  rapidly  up  hill,  and  on  the  sea-shore 
to  sound  of  the  breaking  waves.  Thus  he  developed 
that  clearness  of  articulation,  and  strength  of  voice, 
which  enabled  him  to  subdue  into  silence  and  awe 
those  tumultuous  assemblies  of  the  Athenian 
democracy,  where  the  noise  and  confusion  were  often 
like  that  "  on  the  lip  of  the  many-sounding  sea." 

4  Cicero  tells  us  that  after  he  had  commenced  to 
speak  in  public,  he  found  his  voice  and  delivery  so 
inadequate  that  he  gave  up  his  profession  for  a 
time,  left  Home,  and  spent  several  years  abroad  ir 
the  study  of  elocution,  under  the  greatest  masters 


Utility  of  the  Study  of  Elocution.       41 

of  the  art  in  Greece  and  Asia  Minor.  He  returned 
to  Home  and  resumed  his  profession,  with  a  voice 
which  became  proverbial  for  its  sweetness,  compass 
and  power,  and  with  a  delivery  which  charmed  that 
most  eloquent  age  in  the  history  of  the  world.  Now 
such  examples  are  an  authority  for  which  no  coun- 
terpoise is  possible.  For  these  men  must  be  pre- 
sumed to  have  known  what  they  were  about- 
whether  study  and  training  in  the  art  of  which  they 
were  the  greatest  masters,  were  profitable  or  not. 

5.  Conclusion  of  the  argument  in  the  words  of  Quin- 
tilian  and  Cicero, 

Hence  we  may  fitly  conclude  this  whole  argu- 
ment in  the  modest  words  of  the  great  Quintilian  : 
"  Let  those  who  think  it  is  enough  to  be  born,  in 
order  to  become  great  orators,  enjoy  their  opinion  ; 
but  let  them  be  indulgent  at  the  same  time  to  the 
pains  I  take  [to  form  the  orator],  who  believe  that 
there  can  be  no  consummate  excellence  except  where 
nature  is  aided  by  art ;"  or  in  the  yet  more  forcible 
words  of  Cicero  :  "  To  say  that  there  is  no  art  in 
the  greatest  things,  when  not  even  the  least  can  be 
done  without  art,  appears  to  be  the  part  of  those 
who  speak  inconsiderately,  and  who  err  in  the 
gravest  matters." 


PART   1. 


THE   SOURCES   OF   POWER   IN  DELIVERY. 


L — Power  in  the  Thought. 

II. — Feeling. 

HE. — Earnestness. 

IV. — Consciousness  op  Direct   Address  to  the  Au- 
dience. 

V. — Attention  and  Sympathy. 

VI. — Mastery  op  the  Subject. 

VII. — Facility  of  Eemembering. 

VHI. — Familiarity  with  the  Manuscript. 

IX. — Vitality,  Favorable  Moods  and   Physical  IU- 

GIMEN. 

X* — Self-Contbol. 


PART   I. 


CHAPTER  L 

PRELIMINARY  OBSERVATIONS    AND    FUNDAMENTAL 
PRINCIPLES. 

£  2\ .  The  object  for  which  the  sources  of  power  are  here  in- 
cluded in  the  art  of  elocution,  is  to  counteract  the  ten- 
dency to  an  artificial  style  of  speaking,  otherwise  incident 
to  the  study,  and  to  stimulate,  quicken  and  develop 
t&o  faculty  of  oral  discourse. 

Tru  works  on  this  art  which  are  now  before 
the  pnblic,  confine  themselves  mostly  or  exclusively 
to  the  treatment  of  the  Elements  of  power  in  deliv- 
ery. The  tendency  of  this,  to  a  certain  extent,  has 
been  to  divorce  the  study,  training  and  exercises 
which  Elocution  prescribes,  from  the  sentiments 
which  it  is  intended  to  express ;  in  other  words,  to 
sunder  that  organic  and  vital  union,  which  subsists 
between  dehvery  and  those  intellectual,  moral  and 
esthetic  states  and  workings  of  the  speaker's  mind, 
from  which  it  derives  its  inspiration  and  its  power. 
The  result  of  Shis  has  been  such  an  artificial  style 
of  speaking  us  to  render  colorable,  though  by  no 


46  The  Sources  of  Power. 

means  to  justify,  the  objections  against  this  art 
which  have  been  already  discussed  (§  10).  In  order  to 
counteract  this  tendency,  to  obviate  these  objections 
and  to  stimulate,  quicken  and  develop  the  faculty  oi 
oral  speaking,  as  well  as  for  the  sake  of  systematic 
completeness  in  the  treatment  of  the  subject,  it  is 
now  proposed  to  consider,  in  some  detail,  the  prin- 
cipal Sources  of  power  in  delivery.  From  this  exhi- 
bition it  is  hoped  that  their  fundamental  importance 
will  be  made  to  appear,  together  with  the  grave 
deficiencies  of  every  system  in  which  they  are 
omitted,  or  which  fails  to  treat  them  in  their  vital 
relations  to  elocutionary  power. 

§  21.  The  most  fun  da  mental  principle  of  the  art  of  delivery  is 
that  speaking  normally  consists  of  the  expression  of  the 
leading,  or  dominant  states  of  the  speaker's  mind,  to  com- 
municate which  to  the  audience  is  all  that  he  can  legiti- 
mately aim  or  hope  to  do. 

This  principle  is  essential  alike  to  the  understand- 
ing of  the  subject,  and  to  success  in  all  the  train- 
ing, exercises  and  practice  of  the  art.  It  has,  in- 
deed, the  appearance  of  being  very  far  from  the 
truth  ;  yet,  in  the  sense  in  which  it  is  here  intended, 
with  no  reference,  of  course,  to  voluntary  efforts  at 
the  disguise  or  concealment  of  one's  sentiments; 
which  efforts,  however,  are  hardly  ever  more  thatt 
partially  successful,  it  is  unquestionable. 

1.  Tlie  connection  between  thought  and  language  is  so 
vital  that  it  is  almost  impossible  to  divorce  them. 

Such  is  the  vital  connection  between  the  mental 
states,  on  the  one  hand,  and  the  organs  of  speech, 


Observations  and  PBiNCiPLES.  47 

tones,  and  all  the  vocal  utterances,  on  the  other, 
that  it  is  next  to  impossible,  whatever  be  the  lexico- 
graphical meaning  of  the  words  we  employ,  to 
speak  otherwise  than  as  we  really  feel.  For  all  the 
ou  tward  signs,  both  of  voice  and  gesture,  which  go 
to  constitute  delivery,  take  their  form  and  character 
from  the  mental  operations,  both  intellectual  and 
emotional,  with  which  the  speaker,  at  the  moment  of 
speaking,  is  immediately  and  chiefly  occupied.  It 
is  only  those  operations  which  are  secondary  and 
subordinate  that  can  be  suppressed  from  the  ex- 
pression. Those  which  predominate  in,  and  govern 
the  consciousness,  it  is  well  nigh  impossible  to 
suppress.  These  He  so  near,  and  are  so  imme- 
diately the  causes  of  the  oral  and  visible  signs  by 
and  through  which  we  express  ourselves,  that 
almost  of  necessity  they  come  forth,  and  manifest 
themselves  in  their  true  character. 

2.  Examples. 

In  illustration  and  confirmation  of  this  principle 
it  may  suffice  to  adduce  the  following  examples. 

(1.)  The  mental  recognition  of  the  emphatic  mean  - 
ing  of  a  word,  prompts  to  giving  it  vocal  emphasis. 
A  speaker  who  thinks  of  the  meaning,  and  feels  the 
power  of  an  emphatic  word,  at  the  very  moment  of 
speaking  it,  can  hardly  fail  to  emphasize  it  aright ; 
and  if  he  does  not  think  of  its  meaning,  nor  feel  its 
power,  he  certainly  will  not  emphasize  it  at  all. 

(2.)  Doubt  or  uncertainty  expresses  itself  in  rising 
inflections.  He  whose  mental  state  is  characterized 
by  either  of  these  words,  will  spontaneously  express 
it  by  a  raised  pitch,  and  upward  inflections,  on  his 


48  The  Sources  oe  Power. 

most  significant  words ;  whilst  the  feeling  of  cer- 
tainty or  confidence  will  affirm  and  manifest  itsell 
by  d?wnward  or  falling  inflections. 

(3.)  Earnestness  will  make  the  impression  of  earn- 
estness. Whoever  is  in  downright  blood  earnest,  will 
be  sure  to  express  it,  and  to  impress  it  upon  his  audi- 
ence ;  whereas  he  who  only  affects  it,  may  rant  and 
rave,  and  "  tear  a  passion  to  tatters,"  but  he  will  not 
succeed  in  expressing  what  he  does  not  feel,  but 
only  feigns. 


§  22.  The  leading  mental  states  or  operations  in  all  good 
speaking  are  the  folio  wing :  that  of  holding  firmly  in  the 
mental  grnsp  the  object  which  the  speaker  aims  to  accom- 
plish in  ti.e  minds  of  the  audience ;  the  desire  to  accom- 
plish it;  the  consciousness  of  speaking  directly  to  the 
audience  for  this  purpose ;  and  the  feeling  of  the  power 
of  the  thoughts  and  emotions  which  he  aims  to  express. 

The  development  and  application  of  the  principle 
Laid  down  above  ( §  21),  would  require  us  to  investi- 
gate and  determine  what  these  leading  states  or 
operations  of  mind  are,  the  expression  of  which 
constitutes  good  delivery  ;  in  other  words,  which 
belong  essentially  to  the  giving  oat  or  expression 
of  thought,  and  to  impressing  it  upon  other  minds. 
These,  in  their  most  general  forms,  we  should  find 
to  be  as  here  enumerated,  corresponding  in  part  to 
the  Sources  of  power  in  delivery.  They  govern  the 
consciousness  of  the  speaker,  and  consequently  give 
character  and  form  both  to  the  oral  and  visible 
signs  by  which  he  expresses  himself.  In  fact  wher 
these  mental  states  predominate  in  his  conscious 


Observations  and  Principles.  49 

oess  they  express  themselves,  and  the  expression  oi 
them  is  the  highest  excellence  of  speaking. 

§23.  All  other  mental  operations  which  accompany  speaking, 
are  properly  sub-processes,  and  require  to  be  suppressed. 

These  are  the  exercise  of  memory,  the  work  oi 
invention,  arrangement  and  style,  or  reading  from 
the  manuscript,  the  study  of'the  audience,  the  exer- 
cise of  self-control,  the  feelings  of  timidity,  anxiety 
and  fear,  and  similar  exercises  of  the  mind.  These, 
in  all  good  delivery,  are  carried  on  or  operate,  for 
the  most  part,  unconsciously,  and  are  suppressed 
from  the  expression.  For  whenever  they  are  al- 
lowed to  become  predominant  in  the  consciousness, 
they  displace  or  confuse  those  which  properly  be- 
long to  the  expression  of  thought,  give  character 
and  form  to  all  the  signs  employed,  and  produce  all 
the  vices  of  elocution.  The  delivery,  in  fact,  con- 
sists of  the  expression  of  these  properly  sub-pro- 
cesses, but  which  have  now  become  the  leading  or 
governing  states  of  the  speaker's  mind. 


\  24.  The  great  problem  of  delivery  is,  how  shall  the  speaker 
think  and  feel,  at  the  moment  of  speaking*,  just  what  he 
vishes  to  express  ! 

From  the  preceding  views  it  is  plain  that  the 
great  problem  which  elocution  is  required  to  solve, 
but  which  has  hitherto  been  excluded  from  the  art, 
is  really  a  mental  one,  as  here  stated.  The  solution 
of  this  problem  is  the  precise  aim  of  the  following 
discission  of  the  Sources  of  power  in  delivery. 


CHAPTEE  II 

POWER  IN  THE  THOUGHT. 

\  25.  The  tendency  of  power  in  the  thought  is  to  inspite  the 
delivery  with  power. 

As  in  order  to  speak  at  all,  it  is  necessary  to  have 
something  to  say,  so  in  order  to  speak  well,  it  is 
necessary  to  have  something  to  say  which  is  worthy 
of  being  spoken.  This  statement,  however,  requires 
to  be  qualified.  For  it  is  obvious  that  the  delivery 
may  be  much  better  than  the  matter  of  discourse  ; 
just  as  a  good  discourse  may  be  utterly  spoiled  in 
the  delivery.  If  this  were  not  so,  there  could  be  no 
placo  for  Elocution,  as  a  distinct  art  from  Rhetoric. 
All  that  is  here  meant  is  that  the  strong  tendency 
of  power  in  the  thought  is  to  inspire  the  delivery 
with  power,  and  that  the  best  possible  elocution  is 
otherwise  unattainable.  In  proof  of  this,  it  might 
be  sufficient  to  adduce  the  fact,  well  known  to  all 
teachers  and  students  of  this  art,  that,  for  purposes 
of  practical  training  and  exercise,  we  find  a  verj 
great  advantage  in  the  selection  of  the  most  elo« 
quent  passages  from  the  orators  and  poets.  But  it 
is  desirable  to  unfold  and  confirm  this  principle  bj 
other  considerations. 


Power  in  the  Thought.  51 

$  26.  There  is  a  natural  congruity  between  the  thought  antf 
the  expression  of  it. 

This  natural  agreement,  congruity,  or  consistency 
between  the  character  of  the  thought  to  be  ex- 
pressed, and  the  expression  which  appropriately  be- 
longs to  it,  is  essential  to  the  possibility  of  oral 
speech.  There  is  such  a  congruity  also  between 
the  thought  and  its  rhetorical  form,  the  unspoken 
words,  or  diction ;  but  it  is  much  more  striking  be- 
tween the  thought  and  its  vocalization,  or  delivery 
by  the  voice.  Hence  animated  thoughts  agree  with 
an  animated  delivery ;  feeble  and  spiritless  thoughts 
agree  with  a  feeble  and  spiritless  delivery;  and  a 
truly  powerful  delivery  is  inconsistent  with  thoughts 
which  have  no  power  in  themselves.  But  inconsis- 
tencies and  incongruities  are  difficult  to  be  realized 
in  one  and  the  same  act,  such  as  that  of  public 
speaking;  whilst  things  which  agree  and  are  consist- 
ent with  each  other  are  comparatively  easy  to  be  re- 
alized. Hence  good  elocution,  when  we  have  good 
thoughts  to  express,  is  comparatively  an  easy  thing  ; 
but  it  is  extremely  difficult  when  our  thoughts  are 
poor  and  barren  and  feeble.  This  congruity,  also, 
between  good  thoughts  and  good  speaking,  materi- 
ally aids  the  effect  of  both  upon  the  audience. 


$  27.  Thought  exerts  a  powerful  influence  to  determine  its 
own  forms  of  expression. 

1.   Thought  and  expression  mutually  influence  each 
other,  but  the  influence  of  tit  ought  is  predominant. 


62  The  Sources  of  Power. 

There  is  a  vital  connection  between  thought  and 
expression,  both  in  its  rhetorical  and  oral  forms 
But  especially  does  the  thought  to  be  expressed, 
and  the  articulated  and  oral  expression  of  it,  consti- 
tute one  organic  whole;  the  different  members  of 
which  exert  a  moulding  influence  reciprocally 
upon  each  other.  But  the  influence  of  thought 
upon  expression  is  predominant,  that  of  expression 
upon  thought,  subordinate.  For  we  do  not  speak 
until  we  have  some  thought  to  express,  which  guides 
us  in  the  selection  and  oral  formation  of  the  words 
which  it  requires.  Thought  is  the  spirit  and  life 
of  which  expression  is  the  organized  body ;  and  it 
is  ever  the  peculiar  form  of  life  which  determines 
the  character  of  the  organism  in  and  through 
which  it  shall  be  manifested.  Human  life  does  not 
and  cannot  manifest  itself  in  a  brute  form. 

2.  Examples. 

The  following  examples  may  serve  to  exhibit  this 
vital  connection  between  thought  and  expression, 
and  the  manner  in  which  that  which  is  symbolized 
determines  the  symbolization. 

(1.)  Dull,  sluggish  and  confused  thoughts  nat- 
urally tend  to  express  themselves  in  heavy,  slug- 
gish and  confused  elocution ;  whilst  elevated,  im- 
passioned and  powerful  thoughts  prompt  and  in- 
spire an  elevated,  impassioned  and  powerful  deliv- 
ery. 

(2.)  Clear  and  articulate  thinking  naturally  ex- 
presses itself  in  clear  and  articulate  speaking; 
whilst  blurred  and  iu articulate  thinking  can  hardly 
express  itself  otherwise  than  in  blurred  and  indis- 


Power  in  the  Thought.  53 

fcinct  articulation.  In  fact,  the  charactei  of  the 
thinking, in  this  respect,  exerts  a  marked  influence 
upon  the  physical  organs  of  speech,  upon  their  size^ 
shape  and  physiological  conditions.  For  a  more 
full  elucidation  of  this  point,  see  under  the  head  of 
articulation,  §  122 — 1. 


§  28.  Power  in  the  thought  gives  that  rational  confidence  to 
the  speaker  which  is  essential  to  power  in  delivery. 

1.  In  order  to  deliver  a  discourse  with  power,  the 
speaker  must  believe  that  there  is  power  in  it 

The  importance  to  the  speaker  of  a  rational  con- 
fidence in  himself,  and  in  what  he  has  to  say,  is 
such  that  it  might  well  be  treated  as  an  independent 
and  original  source  of  power.  Whoever  has  com- 
pared his  own  delivery  when  inspired  with  such 
confidence,  with  what  it  becomes  when  he  is  con- 
scious of  having  none  but  feeble  thoughts  to  express, 
will  be  at  no  loss  to  appreciate  the  truth  and  force 
of  this  statement.  Clergymen  have  abundant  ex- 
perience of  it,  in  the  fact  that  they  find  it  almost 
impossible  to  preach  old  sermons  with  anything 
like  the  freshness  and  power  of  a  first  delivery. 
This  is  especially  the  case  when  the  preacher  him- 
self has  made  any  considerable  mental  progress  in 
the  meantime,  unless  the  discourse  has  been  care- 
fully worked  over,  and  brought  up,  in  matter  and 
form,  to  his  advanced  stage  of  development  and 
culture. 

(1.)  Such  confidence  purifies  and  elevates  the  de 
livery,   and   communicates  itself    to   the   audicncu 


54  The  Sources  of  Poweb. 

For  when  the  speaker  fully  believes  that  his 
thought  is  good,  and  ought  to  have  weight  with  the 
audience,  this  conviction  releases  him  from  the 
anxiety  and  torment  of  fear  lest  he  should  fail,  01 
make  a  fool  of  himself,  and  thus  tends  to  purify  his 
elocution  from  the  vices  with  which  the  expression 
of  these  feelings  must  otherwise  load  and  enfeeble 
it.  Unaffected  therefore  by  this  cause  of  embarrass- 
ment and  distraction,  he  is  free  to  throw  all  his 
faculties  and  energies  into  the  proper  work  of  deliv- 
ery ;  and  he  is  inspired  with  courage  and  hope, 
which  naturally  impart  fullness  and  depth  to  his 
tones,  breadth  and  significance  to  his  inflections, 
clearness  to  his  articulation,  propriety  and  force  to 
his  emphasis,  and  dignity  and  grace  to  his  gestures 
and  manner.  This  confidence  also  enables  him  to 
expect,  and  by  expecting  to  engage  the  attention  and 
sympathy  of  his  audience,  by  which  his  elocution 
is  still  further  elevated  and  purified.  Besides  this, 
his  own  appreciation  of  what  he  has  to  say  tends  to 
communicate  itself  to  them  by  all  the  secret  chan- 
nels of  sympathy,  so  that  they  are  insensibly  led  to 
receive  it  with  a  like  appreciation.  But  all  this  ia 
power  in  delivery. 

(2.)  Th  3  want  of  such  confidence  has  the  opposite  in- 
•iuence.  It  renders  it  almost  impossible  for  the  audi- 
ence to  feel  any  confidence  in  what  is  said,  even  though 
it  be  composed  of  the  most  eloquent  sentiment? 
that  oratory  or  poetry  ever  produced.  For  if  the 
speaker  himself  does  not  think  it  worthy  of  being 
spoken,  how  can  he  deliver  it  so  as  to  impress  them 


Power  in  the  Thought.  6ft 

with  the  feeling  that  it  is  worthy  of  being  heard  ? 
In  spite  of  himself,  in  every  tone  and  inflection  of 
his  voice,  in  Ins  articulation,  emphasis  and  gesture, 
he  cannot  fail  to  reveal,  express,  and  impress  upon 
the  audience,  his  own  leading  state  of  mind,  which 
in  this  case  is  that  of  condemnation  of  what  he  is 
delivering  ;  and  thus  he  leads  them  to  condemn  it. 
Add  to  this  the  torment  of  anxiety  and  fear,  or 
rather  the  conviction  that  he  is  making  a  fool  of 
himself ;  the  consequent  withdrawing  of  his  faculties 
from  the  proper  work  of  delivery ;  and  all  the 
vices  of  elocution  which  the  inevitable  expression  of 
such  a  state  of  mind  implies,  render  it  simply  im- 
possible to  speak  with  any  power.  His  conscious 
feebleness  of  thought  makes  him  feeble  in  de- 
livery. 

2.  In  order  to  feel  such  confidence  the  spealcer  must 
have  a  discourse  which  is  worthy  of  it. 

This  is  the  sursst  way,  although  the  statement 
must  not  be  understood  to  imply  that  none  but 
speakers  of  superior  powers  of  thought  can  attain 
to  excellence  in  this  art ;  nor  that  it  will  always  suc- 
ceed in  producing  the  necessary  confidence.  For 
there  are  two  classes  of  persons  to  whom  the  rule 
in  its  utmost  rigor  does  not  apply. 

(1.)  Those  who  are  incapable  of  seveie  crit- 
icism upon  their  discourses  may  feel  confidence 
in  them,  though  unworthy  of  it.  A  speaket 
of  inferior  literary  or  rhetorical  ability  may  fee] 
great  confidence  in  an  inferior  discourse,  and 
consequently   may   deliver  it   so   that  it  will  pro- 


56  POWEB  IN  THE  THOUGHT. 

duce  an  effect  upon  the  audience  far  beyond  its  reaj 
merits.  In  such  persons  the  critical  faculties  are 
not  commonly  developed  beyond  those  which  are 
employed  in  the  actual  production  of  their  dis- 
courses ;  hence,  although  they  are  not  able  to  orig- 
inate thoughts  of  any  great  power,  yet,  because  they 
are  also  incapable  of  any  high  degree  of  self-criti- 
cism, they  often  feel  a  good  degree  of  confidence  in 
what  they  have  to  say,  and  consequently  are  enabled 
to  deliver  it  with  good  effect.  But  even  in  sucli 
cases;it  is  indispensable  that  the  thought  should  be 
as  good  as  the  speaker  can  make  it ;  that  he  him- 
self should  not  be  capable  of  criticising  it  too  severe- 
ly ;  otherwise,  however  poor  it  may  be,  it  cannot  fail 
to  be  still  further  marred  ic  the  delivery. 

(2.)  Those  whose  critical  faculties  are  developed 
in  excess  will  hardly  feel  confidence,  however  ex- 
cellent their  discourses.  The  peculiarity  of  such 
persons  is  that  their  critical  faculties  are  de- 
veloped so  far  in  advance  of  those  upon  which 
execution  or  production  depends,  that  they  are 
disgusted  with  everything  they  do ;  and  the 
more  they  labor  upon  their  own  thoughts,  the 
more  they  are  discouraged.  They  are  over  ed- 
ucated, having  had  too  much  theoretical  instruction 
or  study,  and  too  little  practice ;  so  that  their  ener- 
gy in  production  has  become  enfeebled  or  paralyzed 
They  are  found  in  every  sphere  of  art  and  of  life 
Of  this  class  the  character  of  Hamlet  is  an  illustri- 
ous type,  in  which 

The  native  hue  of  resolution 
Is  sicklied  o'er  with  the  pale  cast  of  thought. 


Power  in  the  Thought.  5v 

(3.)    The  rule  is  of  general  application  to  all  ol 
well-balanced  minds. 

With  most  of  us,however,  and  with  all  of  anything 
like  evenly  balanced  minds  and  culture,  it  will  be 
found  that  the  only  sure  way  to  nourish  and  main 
tain  a  steady  confidence  in  the  matter  of  our  dis- 
courses, such  as  is  indispensable  to  the  successful 
delivery  of  them,  is  to  make  them  as  perfect  as  pos- 
sible. In  this  way  only  is  it  possible  to  secure  the 
highest  degree  of  power  in  delivery.  Without  this 
no  speaker,  however  gifted  or  accomplished  in  ex- 
tempore discourse,  ought  ever  to  deliver  himself  on 
any  serious  occasion,  except  from  absolute  necessi- 
ty. The  reasons  for  this  which  Elocution  alone 
supplies,  to  say  nothing  of  Rhetoric,  are  altogethe- 
insuperable. 


CHAPTEB  IH 

FEELING. 

§29.  The  emotions  and  passions  of  the  soul  are  the  true  ln» 
spiration  of  eloquence. 

Si  vis  me  flere,  dolendum  est 
Primum  ipse  tibL 

There  is  no  more  fruitful  source  of  power  in  de- 
livery than  the  emotions  and  passions  of  the  soul. 
These  are  the  true  inspiration  of  eloquence  itself, 
as  also  of  poetry,  music,  painting,  sculpture,  and  all 
the  esthetic  arts.  This  fundamental  principle  haa 
been  expressed,  once  for  all  time,  in  the  we]l  knowr 
lines  of  Horace,  of  which  the  following  is  a  very  in- 
adequate translation. 

Kesponsively  the  human  features  laugh 

To  those  that  laugh,  and  weep  to  those  that  weep. 

Would'st  make  me  weep  ?    Then  thou  thyself  must  grieve^ 

Telephus,  or  Peleus  ;  thy  words  of  woe 

Then  touch  my  soul :  but  if  thy  mandates  fail 

In  aught  becoming  thy  true  character, 

I  laugh,  or  sleep.     Sad  features  speak  sad  thoughts  ; 

The  frown,  of  wrath  ;  sweet  smiles,  of  sport  and  joy ; 

A  serious  face  bespeaks  a  serious  mind. 

For  nature  forms  us  first  within  to  feel 

The  changeful  lot  of  life — thrills  with  delight, 

Impels  to  anger,  weighs  us  down  with  grief, 


Feeling. 

And  chokes  us  with  keen  anguish — then  declares, 
With  voice  conformed,  her  great  interpreter, 
The  changing  passions  of  the  fervid  soiJ. 


}  30.  The  passions  have  their  own  peculiar  language  of  my  ?• 
tical  signs. 

In  the  preceding  quotation  from  one  of  the  great- 
est masters  of  art,  we  have  set  forth,  not  only  the 
indispensable  necessity  of  feeling  in  order  to  power 
in  elocution,  but  also  the  great  reason  for  this  ne- 
cessity ;  namely,  because  the  passions  have  their 
own  peculiar  language  of  mystical  signs. 

1.  These  signs  consist  of  all  the  different  qualities 
of  voice,  changes  of  pitch,  inflection,  articulation,  time, 
force,  and  empJiasis,  together  with  aR  tlie  infinitely  va- 
rious expressions  of  the  countenance,  and  all  the  posi- 
tions and  motions  of  the  body. 

In  fact,  each  several  passion,  mode  of  feeling,  and 
state  of  mind,  has  its  own  peculiar  dialect,  so  to 
speak,  of  this  symbolical  language.  For  these  signs, 
whether  addressed  to  the  ear  or  the  eye,  are  very 
different,  not  only  for  the  different  passions,  but  also 
for  their  ever-varying  degrees  of  intensity,  and  for 
all  their  modifications  and  blendings  with  each  oth- 
er ;  and  they  vary  still  further  in  persons  of  differ- 
ent temperaments  culture  and  circumstances.  This 
language,  therefore,  constitutes  a  most  copious,  sig- 
nificant and  expressive  part  of  delivery.  For  it  is 
by  means  of  it  that  the  emotions  and  passions  of 
the  soul  communicate  themselves  from  one  person 
to  another,  along  with  the  intellectual   operations. 


60  The  Sources  of  Power 

indeed,  but  often  independently,  and  without  the  in 
tervention  of  thought. 

2.  Examples. 

The  following  examples,  somewhat  modified,  arc 
taken  from  an  anonymous  work  of  the  last  century, 
referred  to  by  Walker  in  his  Elocution,  and  follow- 
ing which  he  has  given  us  between  seventy  and 
eighty  similar  examples  of  this  mystical  language 
of  the  passions.  The  signs  here  imperfectly  indi- 
cated are  only  a  few  out  of  an  almost  infinite  varie- 
ty, by  which  these  passions,  in  their  innumerable 
degrees  and  modifications  and  blendings  with  other 
feelings,  may  be  manifested. 

(1.)  The  passion  of  anger  expresses  itself  in  some 
persons  by  a  flush,  in  others  by  a  livid  paleness  of 
the  countenance.  It  wrinkles  the  forehead,  and  con- 
tracts the  eyebrows.  It  flashes  with  a  fierce  light  in 
the  eyes,  expands  the  nostrils,  gives  rigidity  to  the 
muscles,  clinches  the  fists,  stamps  the  foot,  and  vio- 
lently agitates  the  whole  body.  Its  words  are  some- 
times rapid,  noisy  and  harsh,  with  the  voice  pitched 
high  ;  sometimes  the  voice  is  on  the  lowest  key,  the 
words  slow,  and  the  articulation  much  hardened. 
Violent  and  vindictive  passion  will  often  force  out 
the  breath,  imperfectly  vocalized,  in  a  sharp  hissing 
sound.  The  first  Napoleon,  it  is  said,  when  very 
angry,  hissed  out  his  words  so  as  to  be  nearly  unin- 
telligible. 

(2.)  The  passion  of  sorrow,  when  not  excessive,  ren 
ders  the  countenance  pale  and  dejected,  with  the  eyes 
cast  down,  and  suffused  with  tears.    The  arms  hang 


Feeling.  61 

loosely  at  the  sides,  the  hands  are  open,  the  fingera 
spread,  and  all  the  muscles  of  the  body  are  relaxed. 
The  voice  is  low  and  plaintive,  the  words  slow,  and 
frequently  interrupted  with  sobs  and  sighs.  When 
the  passion  is  violent,  it  distorts  the  countenance, 
as  if  with  pain,  wrings  the  hands,  beats  the  breast, 
tears  the  hair,  and  sometimes  throws  the  body  at  full 
length  on  the  ground ;  often  it  raises  the  voice  in 
loud  complainings,  even  to  shrieks  and  screams. 
Overwhelming  sorrow  is  still  and  silent:  it  sup- 
presses the  tears  and  the  voice,  and  renders  the 
countenance  dull  and  heavy,  as  if  all  the  faculties 
were  stupefied. 

(3.)  The  passion  of  love,  in  different  degrees  of  ti- 
midity, expresses  itself  by  approaching  or  shrinking 
from  its  object.  When  in  doubt  of  the  reception  it 
shall  meet  with,  its  approaches  are  made  with  much 
hesitation,  confusion  of  manner,  and  sometimes  trem- 
bling. Blushing  and  paleness  succeed  each  other 
in  the  countenance.  The  voice  is  low  and  soft'  and 
tremulous.  The  articulation  is  broken  and  confused, 
according  to  the  strength  of  the  passion,  and  the 
lack  of  self-control.  When  declaring  itself,  or  plead- 
ing with  great  importunity,  it  may  easily  bring  the 
lover  to  his  knees.  The  eyes  are  now  either  turned 
away,  or  fixed  upon  the  object,  and  the  speech  is 
either  rapid  and  voluble,  or  confused  and  broken. 
When  secure  of  its  object,  it  gives  a  smile  to  the 
lips,  a  serene  glow  to  the  countenance  which  seems 
to  radiate  light,  a  liquid  brilliancy  to  the  eyes,  and 
a  tenderness  of  expression  and  grace  to  all  the  mo- 
tions of  the  body. 


62  The  Sources  of  Poweb. 

>  31.  No  art  can  teach  this  language  without  the  feelings  bj 
which  it  is  inspired  $  yet  the  study  of  its  signs  is  legiti« 
mate  and  useful. 

L  Feeling  bears  a  relation  to  the  knowledge  of  thest 
signs  like  that  of  the  ear  to  sounds,  and  of  the  eye  to 
colors. 

The  preceding  examples — a  very  few  of  the  signs 
by  which  two  or  three  of  the  most  common  passions 
are  manifested — may  serve  to  evince,  not  only  that 
there  is  such  a  language,  but  also  that  it  is  copious 
and  complicated  beyond  any  possibility  of  analysis, 
and  almost  of  conception.  For  this  reason  among 
others,  it  can  never  be  taught  or  learned  so  that  it 
can  be  employed  with  its  proper  effect,  except  as  it 
is  inspired  by  the  passions  themselves  of  which  it 
is  the  medium  of  expression.  In  a  peculiar  sense 
it  is  the  language  of  nature,  and  nature  only  can 
teach  it.  All  that  we  can  ever  know  of  it,  for  prac- 
tical use,  by  mere  study,  is  little  more  than  the  deaf 
can  know  of  sounds,  or  the  blind  of  light  and  colors. 

2.  TJie  study  of  these  signs,  however,  aids  the  speaker 
to  express  tlie  passions  which  he  actually  feels. 

The  above  statements  are  not  intended  to  affirm 
that  the  knowledge  of  these  signs,  in  so  far  as  tins 
may  be  acquired  by  observation,  study  and  experi- 
ence, has  no  legitimate  place  or  use  in  elocution ;  or 
that  it  cannot  aid  the  speaker  in  expressing  the 
passions  by  which  he  is  actually  inspired.  For  it 
is  evident  from  the  preceding  examples,  that,  to  a 
certain  extent,  these  signs  are  capable  of  being  dis- 
tinguished, described,  classified,  and  referred  to  the 


Feeling.  63 

different  emotions  and  passions  of  which  they  are 
the  natural  expression.  Such  a  knowledge  of  then* 
is  an  important  element  of  that  aid  in  delivery 
which  art  affords  to  nature ;  and  hence  it  ought  not 
to  be  neglected  by  any  who  aspire  to  the  highest 
excellence  and  power.  For  when  the  speaker  is 
truly  inspired  by  the  feelings  which  he  aims  to  ex- 
press, and  to  excite  in  the  audience,  he  will  be  great- 
ly aided  by  a  competent  knowledge  of  this  symbol- 
ical language.  Feeling  is  thus  rendered  a  more 
abundant  source  of  power.  For  as  the  speaker  is 
himrelf  excited  by  the  tones  of  his  own  voice,  so 
tliis  whole  language  of  passion  tends  to  excite  in 
his  bosom,  and  to  facilitate  in  expression,  the  pas- 
sions he  wishes  to  communicate.  In  a  word,  the 
knowledge  of  these  signs  is  of  great  value  in  that 
sphere  in  which  art  comes  in  to  aid,  but  does  not 
subvert  or  displace  nature. 

$  32.  Feeling  is  indispensable  in  impassioned,  argumentative, 
explanatory,  and  every  species  of  discourse. 

The  actual  delivery  of  thought,  taken  in  the  most 
comprehensive  sense  of  the  word, as  inclusive  of  all 
the  emotions  and  passions,  implies  that  we  are  first 
in  possession  of  it  ourselves  ;  for  a  man  cannot  de- 
liver to  others  what  he  does  not  himself  possess* 
Hence  the  feeling  of  the  power  of  the  thought,is  in- 
dispensable to  the  delivery  of  it  with  power,  in  every 
species  of  discourse. 

1.  Feeling  is  most  indispensable  in  impassioned  dis- 
course. 
The  preceding  views  with  respect  to  the  mystical 


64  The  Sources  of  Poweb. 

language  of  the  passions,  have  their  principal  bear- 
Log,  of  course,  upon  the  impassioned  discourse  of 
excitation  and  persuasion.  But  the  indispensa 
ble  necessity  of  feeling  in  this,  the  highest  sphere 
of  eloquence,  may  be  still  further  evinced.  Foi 
how,  it  may  asked,  is  it  conceivable  that  a  man 
who  does  not  love  justice,  and  abhor  crime,  should 
speak  in  defence  of  the  one,  or  in  condemnation  oi 
the  other,  without  such  feigning  as  must  betray 
itself,  and  mock  his  attempts  at  power  in  delivery  ? 
Is  it  possible  that  any  one  should  give  such  true 
and  effective  and  powerful  expression  to  the  love  of 
the  truth,  the  right,  the  beautiful,  and  the  good,  as  to 
excite  these  emotions  in  the  hearts  of  others,  when 
he  does  not  feel  them  himself?  How  can  a  man  so 
speak  as  to  kindle  up  in  others  the  love  of  God,  and 
of  their  neighbors,  when  he  himself  loves  neither  his 
neighbor  nor  his  God  ?  All  this  evidently  involves 
a  problem  which  no  art  can,  or  ou  *ht  even  to  attempt 
to  solve.  For  no  feigning  can  ever  produce  the  ef- 
fect of  unfeigned  emotion ;  and  without  feeling  true 
art  itself  is  impossible. 

2.  It  is  also  necessary  in  argumentative  and  explan- 
atory discourse. 

Feeling,  taken  in  a  somewhat  wide  sense,  is  also 
necessary  in  both  these  species  of  discourse.  For 
it  is  indispensable  that  the  speaker  should  be  deep- 
ly sensible  of  the  meaning  and  bearing  of  the 
thoughts  which  he  has  to  express,  that  he  should 
himself  feel  the  force  of  the  arguments  which  he 
aims  to  enforce  upon  others,  in  order  to   deliver 


Feeling.  65 

them  with  their  proper  effect.  Both  in  argument 
and  explanation,  he  must  grasp  in  his  mind  the 
thought  as  a  whole,  and  in  its  several  parts,  and 
must  be  sensible  of  the  meaning  and  force  01 
power  of  every  important  word,  not  only  in  it- 
self, but  also  in  its  various  relations  and  connec- 
tions, at  the  very  moment  of  speaking  it.  It  would 
be  difficult  to  lay  too  much  stress  upon  this  point. 
For  it  is  here  that  men  of  great  talents  often  mis- 
erably fail:  that  is,  from  the  bare  fact  that  they 
have  no  feeling  of  the  meaning  and  power  of  theii 
words,  at  the  moment  they  are  spoken.  Hence 
their  feeble  articulation,  meaningless  or  false  tones 
and  inflections,  misplaced  emphasis,  and  mechani- 
cal gestures. 

3.  In  every  species  of  discourse,  the  influence  of  the. 
appropriate  feeling  is  to  clothe  the  delivery  with 
power. 

It  is  impossible  for  a  person  of  a  dull,  heavy,  or 
sluggish  soul  to  speak  well.  The  true  orator  is  a 
man  of  keen  and  deep  sensibility  ;  he  is  all  alive, 
even  to  his  finger  Dails.  It  is  this  which  gives  him 
that  charming  animation  or  vivacity,  which  enables 
him  always  to  command  the  attention  and  sympathy 
of  his  audience,  and  which  is  almost  irresistible.  It 
is  this  which  inspires  the  tones,  inflections,  articu- 
lation, emphasis  and  gesture,  so  that  it  seems  to  be 
the  feeling  itself  which  speaks,  rather  than  the  man. 
It  flashes  in  the  eye,  it  plays  upon  the  countenance 
so  that  the  features  seem  to  talk  as  expressively  as 
the  lips.     It  pours  itself  into  the  audience  by  the 


66  The  Solaces  of  Power. 

mysterious  channels  of  sympathy,  and  kindles  ir 
their  hearts  all  the  passions  which  glow  in  the  speak- 
er's own  bosom. 

$  if3.    Play  actors  produce  their  great  effects  by  genuine 
feeling. 

1.  The  successful  tragedian  is  affected  as  the  pey^son 
whom  he 'personates. 

It  may  occur  as  an  objection  to  these  views,  that 
play  actors  produce  the  very  greatest  effects  by  their 
fictitious  representations.  But  it  is  a  mistake  t< 
suppose  that  they  produce  them  by  simulated,  o» 
feigned  emotions ;  for  the  genuineness  of  stage  feeling 
does  not  admit  of  being  questioned.  The  actor,  ii 
in  order  to  succeed  in  his  art,  must  learn  the  secret 
of  opening  the  fountains  of  feeling  in  his  own  bosom 
He  must  himself  be  moved  as  if  he  were  in  truth  thv^ 
person  whose  character  he  personates ;  and  in  bib 
most  successful  efforts  he  sometimes  loses,  for  the 
time,  his  consciousness  of  his  own  proper  identity. 
His  emotion  becomes  so  profound  and  entrancing 
that  his  distinct  personality  seems  to  be  absorbed  in 
the  character  which  he  represents.  This  is  the 
great  secret  of  the  tragic  art,  which  has  given  the 
great  tragedians  their  almost  irresistible  power  over 
the  emotions  and  passions  of  the  human  soul. 

2.  Examples  and  authorities. 

It  would  be  easy  to  cite  any  number  of  examples 
and  authorities  in  support,  of  this  statement,  if  ii 
were  necessary. 


Feeling.  67 

(1.)  Walker  gives  among  others  the  following :  "  J 
have  often  seen  Powell,  in  the  character  of  George 
Barnwell,  so  overwhelmed  with  grief  in  that  pathetic 
address, 

Be  warned,  ye  youths,  who  see  my  sad  despair, 

as  to  be  incapable  of  expressing  himself  in  the  most 
impressive  manner."  (For  the  necessity  of  self-con- 
trol, see  Chap.  XI.) 

(2.)  Quintilian  tell  us  :  "I  have  often  seen  actors, 
both  in  tragedy  and  comedy,  when  they  laid  aside 
their  masks,  after  going  through  some  distressing 
scene,  quit  the  stage  in  tears." 

(3.)  Cicero  also  to  the  same  effect,  particularly 
where,  after  having  quoted  a  passage  from  the  Tela- 
mon  of  Pacuvius,  he  adds :  "  Even  the  player  who 
pronounced  these  words  every  day,  could  not  deliver 
them  effectively  without  a  feeling  of  real  grief." 

3.  In  genuine  feeling  the  players  not  unfrequently 
shame  the  preachers. 

For,  as  it  has  been  often  remarked,  whilst  the 
former  deliver  fiction  as  if  it  were  the  truth,  the 
latter  not  unfrequently  utter  the  most  solemn  and 
glorious  truth  as  if  it  were  the  merest  fiction.  Such 
preachers,  if  this  word  be  not  abused,  ought  surely 
to  apply  to  themselves  those  terrible  self-reproaches 
of  Hamlet,  which  afford  us  another  striking  evidence 
of  the  genuineness  of  histrionic  feeling. 

0  what  a  rogue  and  peasant  slave  am  I ! 
Is  it  not  monstrous  that  this  player  here, 
But  in  a  fiction,  in  a  dream  of  passion, 


68  The  Sources  of  Poweb. 

Could  force  his  soul  so  to  his  own  conceit, 

That  from  her  working  all  his  visage  wanned  , 

Tears  in  his  eyes,  distraction  in's  aspect, 

A  broken  voice,  and  his  whole  function  suiting 

With  forms  to  his  conceit — and  all  for  nothing? 

For  Hecuba ! 

What's  Hecuba  to  him,  or  he  to  Hecuba, 

That  he  should  weep  for  her  ?    What  would  he  do, 

Had  he  the  motive  and  the  cue  for  passion 

That  I  have? 

Yet  I, 
A  dull  and  muddy-mettled  rascal,  peake, 
Like  John-a-dreams,unpregnant  of  my 
And  can  say  nothing. 


,  34.  The  speaker  should  endeavor  to  excite  jq  himself  the 
feeling  which  is  requisite  for  speaking,  for  which  there 
are  various  and  effective  means. 

It  is  evident  from  what  has  now  been  determined, 
that  great  importance  must  attach  to  the  question, 
by  what  means  can  we  command  the  requisite  feel- 
ing on  each  occasion  of  speaking  ?  That  there  are 
such  means  has  always  been  understood  by  the 
play  actors,  and  the  knowledge  and  diligent  use  of 
some  of  them  go  far  to  explain  the  great  power  of 
the  tragic  art.  But  a  large  number  of  public  speak- 
ers seem  either  to  be  ignorant  that  there  are  such 
aidfe,  01  to  despise  them.  It  is  doubtless  one  cause 
of  the  feebleness  of  pulpit  delivery,  that  so  many 
clergymen  neglect  the  invaluable  helps  which  art 
supplies,  in  exciting  their  own  hearts  with  the  feel- 
ing of  the  truth  which  they  seek  to  impress  upon 
others.  This  remark  is  not  intended  to  apply  tc 
all  the  aids  mentioned  below,   some  of  which,  in- 


Feeling.  69 

deed,  are  so  general  in  their  nature,  and  have  so 
much  more  exalted  relations  than  any  which  they 
bear  to  this  subject,  that  it  seems  almost  improper 
to  bring  them  within  the  purview  of  this  art. 


§  35.  The  first  means  of  exciting  the  requisite  feeling,  is 
careful  meditation  on  the  causes  and  reasons  for  feeling 
which  are  offered  by  the  occasion,  object,  and  sentiments 
of  the  discourse. 

The  first  and  most  generally  available  means, 
which  our  art  teaches,  of  exciting  in  ourselves  the 
requisite  feeling,  is  thorough  meditation  beforehand 
upon  the  causes  or  reasons  for  feeling,  which  are 
supplied  by  the  occasion  and  circumstances,  the  ob- 
ject which  we  aim  to  accomplish,  and  the  sentiments 
we  have  to  deliver.  Each  of  these  seems  to  require 
a  separate  consideration. 


|  36.    Meditation  of  the  occasion  and  circumstances  of  speak- 
ing tends  to  excite  the  requisite  feeling. 

The  circumstances  in  which  we  have  occasion  to 
speak  are  often  adapted  to  affect  the  heart  of  the 
speaker  with  the  deepest  emotion.  This  influence 
may  be  lost  for  want  of  due  appreciation.  Hence 
it  is  necessary  for  him  to  grasp  these  circumstances 
with  his  mind,  and  apply  them  to  his  own  heart, 
especially  in  those  aspects  in  which  they  have 
greatest  adaptation  to  touch  and  excite  the  sensi- 
bilities of  the  soul.  The  following  cases  will  explain 
what  is  here  intended. 


70  The  Soueces  of  Powek. 

1.  The  occasion  of  speaking  may  he  the  untimely 
dsath  of  a  great  man. 

Such  a  man  may  be  cut  off  by  assassination  from 
the  highest  official  station,  and  the  greatest  moral 
influence,  for  whose  death  a  whole  nation  may  be 
filled  with  grief  and  indignation,  and  draped  in 
mourning.  If  now,  in  such  a  case  as  this,  any  want  oi 
emotion  were  conceivable,  what  an  overwhelming  ar- 
ray of  circumstances  may  the  speaker  cause  to  pass 
before  his  mind  to  excite  it !  How  can  even  a  brief 
meditation  of  these  fail  to  awaken  the  deepest 
emotion ! 

2.  The  speaker  may  be  called  to  speak  in  the  national 
legislature  upon  a  great  subject. 

As  a  member  of  the  Senate  or  House  of  Kepre- 
sentatives  of  the  United  States,  he  may  have  to 
speak  in  the  hearing  of  thirty  or  forty  millions  of 
freemen,  his  fellow  citizens,  and  of  the  whole  civil- 
ized world,  upon  a  question  of  peace  or  war,  or 
some  other  measure,  which  must  affect  for  good  or 
evil  the  life  of  the  nation,  and  the  welfare  of  the 
people,  for  generations  and  ages  to  come.  Now,  with 
a  due  appreciation  of  the  solemnity  and  responsi- 
bility of  every  word  spoken  in  such  circumstances 
as  these,  there  could  be  no  want  surely  of  that  deep 
and  full  emotion  which  inspires  delivery  with  power. 

3.  He  may  be  called  to  offer  terms  of  forgiveness  and 
reccnvciliation  to  men  for  their  sins,  being  dothed  tvith 
the  character  and  responsibility  of  an  ambassador  <y 
God  to  man. 


Feeling.  71 

In  this  case  the  speaker's  relations  to  God,  and 
his  relations  to  his  audience,  together  with  their 
character  and  circumstances,  being  grasped  with 
the  mind,  and  duly  appreciated,  are  adapted  to  ex- 
cite the  most  powerful  and  tender  emotions  in  hia 
own  heart.  To  say  nothing  of  meditation  upon 
these  circumstances  beforehand,  a  few  moments' 
consideration  after  entering  the  pulpit,  of  the  as- 
sembly before  him,  many  of  them  in  deep  mourn- 
ing, their  hearts  burdened  with  sorrow;  the  con- 
sideration of  their  secret  griefs,  their  manifold 
temptations,  their  dangers,  fears  and  spiritual  wants, 
and  especially  their  need  of  spiritual  succors  and 
consolations — a  few  moments'  consideration  of  such 
circumstances  as  these  will  often  flood  the  heart  of 
the  Christian  minister  with  such  deep  emotion,  and 
so  fill  his  eyes  with  tears,  that  he  must  check  him- 
self by  a  strong  effort  of  will,  in  order  to  be  able  to 
speak  at  all. 

§37.  Meditation  of  the  object  of  speaking  tends  to  excite 
the  requisite  feeling. 

The  object  which  the  speaker  aims  to  accomplish 
in  the  minds  of  the  audience,  when  thoroughly  med- 
itated and  held  before  his  own  mind,  will  often  be 
found  even  more  powerful  to  excite  his  emotional 
nature,  than  the  circumstances  or  occasion  of  speak- 
ing. 

1.  The  object  may  be  to  impress  upon  the  audience  tht 
worth  of  American  citizenship. 
In  this  case  tha  speaker  should  endeavor  to  poa- 


72  The  Sources  op  Poweb. 

ses3  his  own  mind  with  the  feeling  of  the  innumer- 
able blessings,  social,  civil  and  religious,  which  this 
high  privilege  confers,  and  which  renders  it  so  ex- 
ceedingly precious  to  all  who  enjoy  it,  and  are  able 
bO  appreciate  it.  Also  he  should  consider  the  long 
and  bloody  struggles,  the  faith,  constancy  and  self- 
sacrifice,  by  which  our  nationality  was  established, 
and  by  which  it  has  been  maintained  and  preserved. 
Such  considerations  will  commonly  enter  into  the  top- 
ics of  his  discourse,  but  in  order  that  his  own  feelings 
may  be  duly  affected  by  them,  he  ought  thoroughly 
to  meditate  upon  them  in  special  application  to  his 
own  case,  until  he  feels  for  himself  something  of  the 
worth  and  preciousness  of  his  own  American  citizen- 
ship. 

2.   Or  it  may  be  to  loin  souls  to  Christ. 

In  this  case  he  should  meditate  much  upon  the 
worth  of  a  single  soul,  and  its  almost  infinite  capaci- 
ties of  happiness  and  misery.  He  should  bethink 
himself  of  some  of  the  priceless  blessings,  both  in  this 
life  and  in  that  which  is  to  come,  which  Christ  be- 
stows upon  all  who  come  unto  him  ;  and  of  the  appall- 
ing guilt,  and  everlasting  misery,  with  which  men  load 
themselves  by  rejecting  or  neglecting  the  great  sal- 
vation. Above  all,  he  should  thus  endeavor  to  im 
press  his  own  heart  with  the  all-constraining  love 
which  J  eras  has  manifested  by  giving  his  life  on 
the  cross,  a  ransom  for  our  lost  souls.  And  if,  aftei 
such  a  meditation,  though  brief,  the  speaker  can 
come  before  his  audience,  and  behold  a  thousand,  or 
&  hundred  of  such  souls,  waiting  with  respectful  at- 


Feeling.  73 

tontion,  to  hear  what  lie  has  to  say,  and  still  be  desti- 
tute of  feeling,  let  him  dismiss  the  congregation,  and 
tell  them  that  l.e  was  never  called  to  preach  the  un- 
searchable riches  of  Christ  to  perishing  sinners. 

§  38.  Meditation  of  the  sentiments  we  haye  to  deliver  tends 
to  excite  the  requisite  feeling. 

1.  This  is  the  most  effectual  means. 

The  sentiments  of  a  discourse,  in  order  to  be  ap- 
propriate, must  spring  out  of  the  occasion  and  the 
object  for  which  it  is  delivered.  Hence  meditation 
of  the  sentiments  includes,  to  a  certain  extent,  that 
of  the  occasion  and  object  of  speaking,  and  consti- 
tutes the  most  effective  means  of  exciting  the  requi- 
site feeling.  For  in  order  that  the  thoughts  or  sen- 
timents of  a  discourse  should  produce  their  proper 
effect  upon  the  speaker  himself,  thoy  must  be  taken 
up  by  his  mind ;  his  mind  must  bo  filled  with  them  ; 
they  must  be  brought  into  combination  with  each 
other  until  they  ferment,  as  it  were,  or  effervesce,  and 
overflow  ;  and  this  is  effected  chiefly  by  meditation. 

2.  This  is  the  principal  means  of  exciting  the  speaker's 
feelings  in  the  delivery  of  the  sentiments  of  others,  as 
also  in  tlie  exercises  of  elocutionary  training,  and  in  tJie 
delivery  of  play  actors. 

The  most  important  lesson  which  the  student  has 
to  learn,  in  delivering  the  sentiments  of  others,  is  to 
fill  his  mind  with  them  ;  to  meditate  upon  them  un- 
til he  has  made  them  thoroughly  his  own.  For  until 
he  has  learned  to  do  this,  and  has  thereby  fired  his 
own  heart,  he  cannot  speak;   and  when  he  has 


74:  The  Sources  cb  Powek. 

learned  this,  lie  has  already  ceased  to  be  a  tyro,  ami 
has  begun  to  be  a  master  in  his  art.  The  example 
of  play  actors  in  this  respect  is  worthy  of  attention. 
For  the  amount  of  study,  minute  attention,  and  pa- 
tient meditation,  which  they  bestow  upon  their 
authors,  in  order  to  possess  themselves  of  every 
shade  of  thought  and  sentiment,  that  they  may  ren- 
der them  to  the  audience  with  their  true  power,  is 
almost  incredible.  It  is  this  habit  of  mind,  with  re- 
spect to  the  study  of  Shakspeare,  of  which  Garrick 
gives  us  a  glimpse  in  the  following  couplet: 

"Tis  my  chief  wish,  my  joy,  my  only  plan, 
To  lose  no  drop  of  that  immortal  man. 

3.  T/ie  same  meditation  is  necessary  in  the  deliver], 
of  our  oion  sentiments. 

We  are  tempted  to  think  that  we  cannot  help 
feeling  the  power  of  our  own  thoughts,  when  we 
come  to  deliver  them,  notwithstanding  all  experience 
proves  the  contrary,  and  shows  that  we  need  to 
possess  our  minds  with  them,  and  to  apply  them  to 
our  own  hearts,  with  as  much  assiduity  and  pains 
taking  meditation  as  if  they  were  the  sentiments  of 
others. 

(1.)  The  advocate,  e.  g.  is  called  to  defend  a 
client  from  injustice  and  oppression.  In  this  case 
the  topics  entering  into  the  defence,  which  are  best 
adapted  to  excite  emotion — such  as  the  state  of 
society  which  would  result  if  such  wrongs  should  go 
unpunished,  the  insult  offered  to  the  majesty  of  the 
law,  and  to  all  good  citizens,  and  the  pitiable  con- 
dition to  which  the  sufferer  himself  and  his  family 


Feeling.  75 

have  been  reduced — sack  topics  should  be  profoi.  id- 
ly meditated  by  the  speaker,  until  the  sentirrunts 
make  their  due  impression  upon  his  own  heart,  and 
the  fire  of  feeling  is  kindled  up  in  his  own  bosom. 

(2.)  Or  the  preacher  of  the  gospel  is  about  to 
deliver  a  discourse  on  the  sacrifice  of  Christ,  foi 
the  object  of  awakening  trust  and  love  in  his  audi- 
ence. Here  he  ought  to  meditate  beforehand  on 
the  faithfulness  and  love  which  Christ  has  manifest- 
ed by  the  sacrifice  of  himself  in  our  place  ;  upon 
his  constancy  to  our  cause  in  the  face  of  all  his 
temptations  to  abandon  it ;  and  upon  the  elements 
of  trustworthiness  and  loveliness  which  are  embod- 
ied in  his  person  and  character;  until  he  has 
thoroughly  possessed  himself  of  such  causes  or 
reasons  for  emotion,  in  application  to  his  own  case, 
and  until  the  fountains  of  trust  and  love  are  opened 
in  his  own  soul.  This  will  enable  him  to  speak  so 
that  none  will  criticise  his  want  of  feeling,  or  his 
power  in  delivery. 

$  39.    The  second  means  of  exciting  the  requisite  feeling  is 
the  cultivation  of  the  sensibilities. 

It  has  been  already  observed,  as  everywhere  im- 
plied in  the  discussion  of  this  source  of  power,  that 
a  speaker,  in  order  to  be  truly  eloquent,  must  be  a 
man  of  sensibility.  Hence  the  systematic  cultiva- 
tion of  the  emotional  faculties  of  the  soul,  must  be 
regarded  as  an  important  means  of  being  able  to 
command  the  requisite  feeling  for  each  occasion  of 
speaking. 


76  The  Sources  of  Power. 

1.  The  emotional  nature  is  capable  cf  such  cultivck 
tion  and  development. 

There  is,indeed,  a  great  difference  between  good 
and  able  men,  in  this  respect,  as  in  all  others,  but 
there  are  none  in  whom  this  class  of  faculties  are 
not  capable  of  being  quickened  and  purified.  The 
esthetic  and  moral  affections — sensibility  to  beauty 
physical,  intellectual  and  moral;  sympathy,  com- 
passion, hope  and  joy ;  the  love  of  truth,  duty  and 
justice — these,  and  all  other  right  affections  of  the 
soul,  are  as  capable  of  culture  and  development  as 
the  intellectual  faculties. 

2.  The  method  of  cultivating  the  sensibilities  is  by  ea> 
ercising  them  upon  their  appropriate  objects. 

All  the  sensibilities  of  the  soul  should  be  system- 
atically exercised  upon  their  appropriate  objects ; 
the  esthetic,  in  the  contemplation  and  enjoyment  of 
beautiful  objects :  the  moral,  upon  moral  objects. 
Sympathy  and  pity,  e.  g.  should  be  exercised  in 
sympathizing  with,  and  in  relieving  the  wants  and 
sufferings  of  those  who  are  in  affliction  and  calam- 
ity ;  and  so  of  all  the  others.  Without  such  exer- 
cise, the  sensibilities  of  the  soul  grow  feeble, 
especially  as  we  advance  in  years,  and  our  power  to 
call  forth  the  requisite  feeling,  on  our  various 
occasions  of  speaking,  declines.  This  is  one  reason 
why  some  speakers,  whilst  young  and  immature, 
are  much  more  effective  than  in  later  life.  Instead 
of  gaining,  they  lose  power  from  decline  of  theii 
susceptibility  of  emotion  and  passion. 


Feeling.  77 

§  40.   The  third  means  of  exciting  the  requisite  feeling  is  the 
cultivation  and  exercise  of  the  imagination. 

1.  Tlie  imagination  is  properly  an  original  sourct 
y  power  in  delivery. 

The  imagination  is  characteristically  the  faculty 
of  art.  It  is  this  faculty,  above  every  other,  upon 
which  depend  the  arts  of  poetry,  music,  painting, 
sculpture,  architecture,  acting,  and,  hardly  in  a  less 
degree,  that  of  elocution.  In  this  art  it  is  of  such 
importance  that  it  ought  to  be  treated  as  an  inde- 
pendent and  original  source  of  power.  For  the 
sake  of  brevity,  however,  it  is  here  taken  as  a  princi- 
pal means  of  exciting  that  feeling  in  the  speaker 
which  is  indispensable  to  excellence  in  delivery. 

2.  It  is  by  the  exercise  of  this  faculty  tluat  the  play 
actor  is  enabled  to  feel  as  the  person  whom  he  person- 
ales. 

By  the  imagination  only  is  the  player  enabled  to 
identify  himself  with  his  stage  character,  and  thus 
some  to  be  affected  with  all  the  emotions  and 
passions  which  belong  to  that  character.  It  is  by 
the  same  faculty,  moreover,  that  he  forms  distinct, 
vivid,  and  heart-moving  conceptions  and  images  oi 
all  those  causes,  reasons  and  occasions  for  emotion, 
which  are  supposed  to  operate  in  the  case,  oi 
which  would  affect  his  sensibilities  if  he  were  in 
truth  the  living  person  whom  he  represents.  Hence 
he  feels  as  the  character  whom  he  personates  is 
supposed  to  have  felt,  speaks  as  he  spoke,  and 
acts  as  he  acted.  This  is  in  part  the  explanation 
of  that  marvellous  power  which  the  great  tragedian 


IS  The  Sources  of  Poweb. 

exercises,  in  exciting  the  emotions  and  passions  oi 
the  audience  and  spectators. 

3.  A  simitar  exercise  of  the  imagination  is  required  in 
Hue  training  exercises  of  elocution. 

The  teacher  of  this  art  will  not  have  failed  to  ob- 
serve that  the  difference  between  those  who  are  quick, 
and  those  who  are  slow  to  learn,  turns  as  much  upon 
the  degree  in  which  this  faculty  is  possessed  or  de- 
veloped, as  upon  any  other  cause.  For  precisely  as 
in  the  case  of  the  actor,  it  is  by  the  exercise  of  the 
imagination  that  the  student  is  enabled  to  bring 
himself  under  all  those  influences  which  inspired  the 
author  of  the  passage  which  he  attempts  to  repro- 
duce. Thus  he  also  becomes  for  the  time,  as  it 
were,  the  orator  or  author  whose  sentiments  he  is 
delivering ;  and  hence  is  enabled  to  feel  as  he  felt, 
and  to  speak  as  he  spoke,  or  as  the  words  were  in- 
tended to  be  spoken. 

4.  Tlie  imagination  is  eqwaUy  necessary  to  feeling,  in 
Hue  'practice  of  oratory. 

For  it  is  by  this  faculty  that  we  form  those  dis- 
tinct and  vivid  conceptions  and  images  of  the  truth 
which  we  have  to  deliver,  and  of  the  scenes  and  in- 
sidents  which  we  have  to  desciibe  or  narrate,  by 
which  our  own  hearts  become  affected  with  the  very 
same  feelings  which  we  wish  to  excite  in  the  audi- 
ence. This  it  is  also  which  teaches  us  to  lay  hold  oi 
those  individual  and  special  traits,  and  "  touches  oi 
nature,"  which  are  most  powerful  to  affect  our  own 
feelings,  and  those  of  the  audience.  It  enables  us 
also  to  enter  into  the  sympathies  of  the  audience 


Feeling.  7S 

and  to  identify  ourselves  with  those  whose  sorrows 
we  portray,  so  as  to  feel  the  same  sorrow  ourselves. 

5.  This  whole  view  of  the  influence  of  the  imagination 
in  exciting  the  speaker's  feelings,  is  confirmed  by 
(he  highest  authorities. 

(1.)  Cicero  upon  this  point  delivers  himself  as 
follows :  "  There  is  such  force,  let  me  assure  you, 
in  those  thoughts  and  sentiments  which  you  apply, 
handle  and  discuss  in  speaking,  that  there  is  no  oc- 
casion for  simulation  or  deceit ;  for  the  very  nature 
of  the  language  which  is  adapted  to  move  the 
passions  of  others,  moves  the  orator  himself  in  a 
greater  degree  than  any  who  listen  to  him  ....  I 
never  yet,  I  assure  you,  tried  to  excite  sorrow,  or 

compassion when  spealdng  before   a  court  of 

judicature,  but  I  myself  was  affected  with  the  very 
same  emotions  that  I  wished  to  excite  in  the  judges." 
Elsewhere  he  gives  us  this  precept,  that  "  we  must 
represent  to  our  imaginations,  in  the  most  lively 
manner  possible,  all  the  most  striking  circumstances 
of  the  transaction  we  describe,  or  of  the  passion  we 
wish  to  excite  in  ourselves." 

(2.)  Quintilian  also  teaches  us  that  in  order  to 
feel  as  we  ought,  and  thus  to  exercise  the  power  of 
moving  the  feelings  of  the  audience,  we  must  form 
such  images  and  representations  of  absent  objects, 
that  they  shall  seem  to  be  present,  and  we  shall  seem 
to  see  them  with  our  eyes. 

"  A  man  of  livery  imagination,"  he  says,  "  is  one 
who  can  vividly  represent  to  himself  things,  voices, 
actions,  with  the  exactness  of  reality;  and  this  facility 


80  The  Soueces  of  Power. 

we  may  readily  acquire  if  we  desire  it.  When,  for  ex- 
ample, the  mind  is  unoccupied,  and  we  are  indulging 
in  chimerical  hopes,  and  waking  dreams,  these 
images  beset  us  so  closely  that  we  seem  to  be  not 
thinking  but  acting,  on  a  journey  or  a  voyage,  in  a 
battle,  or  haranguing  an  assembly,  or  disposing  ol 
wealth  which  we  do  not  possess.  Shall  we  not  then 
turn  this  lawless  power  of  our  minds  to  advan- 
tage ?  When  I  make  a  complaint  that  a  man  has 
been  murdered,  shall  I  not  bring  before  my  eyes 
everything  that  is  likely  to  have  happened  when  the 
murder  was  committed  ?  Shall  not  the  assassin  sud- 
denly rush  forth  ?  Shall  not  the  victim  tremble,  cry 
out,  supplicate,  or  flee?  Shall  I  not  behold  the 
murderer  striking,  the  murdered  falling  ?  Shall  not 
the  blood  and  paleness  and  expiring  gasp  of  the 
murdered  man  present  themselves  fully  to  my  men- 
tal view  ?  . . . .  For  thus  our  feelings  will  be  moved 
not  less  strongly  than  if  we  were  actually  present." 


§  41.    The  fourth  and  last  means  of  exciting  the  requisite 
feeling  is  the  formation  of  a  right  moral  character. 

It  has  been  much  disputed,  especially  by  Cicero 
and  Quintilian  among  the  ancients,  and  by  There- 
min in  modern  times,  whether,  after  all,  eloquence 
be  not  a  virtue,  rather  than  an  art ;  that  is,  whether 
any  but  a  really  good  man  can  speak  with  the 
greatest  power.  The  true  solution  of  this  question 
seems  to  be,  that  virtue  is  not  in  all  cases  essential 
to  eloquence,  but  that  it  is  essential  to  the  highest 


Feeling.  81 

eloquence  on  moral  and    religious    subjects    and 
occasions. 

1.  Virtue  is  not  essential  to  all  forms  and  degrees  of 
eloquence. 

For  it  is  undeniable  that  there  are  subjects  and 
occasions  on  which  men  of  by  no  means  the  best 
moral  character  may  be,  and  have  been  truly  elo- 
quent. The  power  of  oratory  in  the  ancient  heathen 
republics  is  of  itself  abundant  proof  of  this,  which 
is  confirmed,  moreover,  by  many  examples  in 
modern  times.  For  some  of  our  great  judicial  and 
forensic  orators,  both  in  Europe  and  this  country, 
have  been  men  riot  of  the  strictest  morality.  A 
similar  remark  might  be  made,  perhaps  with  still 
greater  force,  of  some  of  the  most  eminent  trage- 
dians. 

2.  But  virtue  is  essential  to  the  highest  eloquence  on 
moral  and  religious  subjects  and  occasions. 

The  reason  of  this,  in  so  far  as  it  pertains  to 
elocution,  is  that  none  but  a  man  of  high  moral 
character  can  feel,  in  view  of  this  class  of  subjects, 
as  the  speaker  must  feel  in  order  to  deliver  himself 
with  the  greatest  power.  For  the  aim  of  such  dis- 
courses is  to  do  good,  to  make  men  wiser  and 
better,  to  inform  and  convince  them  of  moral  truth, 
to  awaken  and  quicken  their  admiration  and  love  of 
whatsoever  is  morally  admirable  and  lovely,  and  tG 
persuade  them  to  act  and  live  in  a  virtuous  and  holy 
manner.  The  subjects  or  themes  of  discourse  cor- 
respond to  these  objects  or  aims;  and  with  both 
these,  doubtless,   the  character  and  heart  of  the 


82  The  Soukces  of  Power. 

speaker  must  be  in  full  sympathy,  that  is,  he  must 
be  a  good  man,  in  order  to  speak  with  the  greatest 
effect.  Here  eloquence  is  a  spiritual  power.  It 
was  this  chiefly  which  made  the  delivery  of  White- 
field  and  Sommerfield  so  irresistible. 

3.  The  feeling  which  is  requisite  to  the  preachiny  of 
Hue  gospel  with  power,  is  to  be  sought  in  prayer  for  flue, 
influences  of  the  Holy  Spirit. 

This  it  is,  above  everything  else,  which  affects 
our  own  hearts  with  the  feeling  of  the  truth  which 
we  wish  to  impress  upon  others,  and  clothes  our 
preaching  with  spiritual  power.  For  that  Spirit 
which  gives  divine  efficacy  to  the  preaching  of  the 
gospel,  dwells  in  the  heart  of  the  preacher.  The 
anointing  of  the  heart  makes  the  lips  eloquent.  The 
baptism  of  the  Spirit  is  the  gift  of  tongues. 


CH1PTER  IV. 

EARNESTNESS. 

\  42.  Earnestness  is  one  of  the  principal  sources  of  eta 
quence. 

Earnestness  is  equally  essential  to  eloquence  both 
in  its  rhetorical,  and  in  its  oral  or  elocutionary  forms. 
It  cannot  always,  indeed,  make  a  man  eloquent,  for  he 
may  lack  other  qualifications ;  but  no  man  can  be 
truly  eloquent  without  it.  In  its  relation  to  rhetoric 
it  has  often  been  treated  of,  though  commonly  in  a 
somewhat  vague  manner  ;  but  in  order  to  appreciate 
its  importance  in  elocution  it  is  necessary  to  form  a 
precise  conception  of  its  nature  and  mode  of  opera- 
tion. 

§  43.  Earnestness  in  speaking  is  a  distinct  conception  of  the 
object  aimed  at  in  the  minds  of  the  andience,  and  a  strong 
desire  to  accomplish  it. 

It  will  be  seen  from  this  definition  that  earnest- 
uess  is  in  part  a  feeling,  and  therefore  included,  to 
that  extent,  in  the  preceding  chapter.  There  are 
however  many  reasons  r~hy  it  is  indispensable  to 


Si  The  Sources  of  Power 

treat  it  separately,  as  an  independent  and  original 
source  of  power  in  delivery.  Among  these  are  the 
following. 

1.  Because  of  the  general  nature,  and  distin- 
guished importance  of  the  feeling  which  enters  into 
it,  and  which,  perhaps,  is  more  essential  to  good 
speaking  than  any  other. 

2.  Because  it  includes  also  an  intellectual  opera- 
tion, namely,  that  of  the  distinct  conception  of  the 
object  which  the  speaker  aims  to  accomplish  in  the 
minds  of  his  audience. 

3.  Because  both  this  conception  of  the  object,  and 
the  desire  to  accomplish  it,  are  among  those  leading 
states  of  mind  which  ought  always  to  govern  the 
consciousness  of  the  speaker,  and  the  expression  oi 
which  constitutes  good  delivery. 

4.  Because  each  of  these  elements  of  earnest- 
ness has  its  own  separate  relations  to  power  in 
elocution,  in  consequence  of  which  each  requires  a 
distinct  exhibition  in  these  relations. 


§  44.  The  distinct  conception  of  the  object  to  be  accomplished 
in  the  minds  of  the  audience  by  speaking,  is  one  of  the 
governing  intellectual  operations  in  all  good  delivery. 

1.  The  object  of  speaking  is  either  explanation,  con* 
vidion,  excitation,  or  persuasion. 

Rhetoric  teaches  us  that  the  object  of  speaking 

must  always  be  conceived  of  under  some  one  oi 

these  four  general  forms.     In  all  speaking,  we  aim 

either  to  inform  or  instruct  the  audience, by  explain- 

ng  to  their  faculties  of  understanding  some  fact  O) 


EAKNESTNESS.  85 

truth  or  to  convince  their  judgments  by  proving 
some  truth,  or  disproving  some  error ;  or  to  excite 
their  sensibilities;  or  to  persuade  them  to  some 
action,  purpose,  or  course  of  life.  Most  frequently, 
however,  the  object  of  speaking  appears  under  the 
last  of  these  forms,  with  the  first  three  as  means  of 
accomplishing  it.  Whatever  the  object  be,  it  is  ne- 
cessary to  form  a  distinct  conception  of  it  before  wo 
commence  to  speak,  and  to  hold  it  firmly  in  the 
grasp  of  the  mind  from  the  beginning  to  the  end  of 
the  discourse. 

2.  In  all  good  delivery  this  conception  governs  the 
subordinate  intellectual  operations,  as  the  conception  of 
right  or  justice  in  the  mind  of  an  honest  man,  governs 
the  other  operations  in  driving  a  bargain. 

This  conception  of  the  object  of  speaking  need 
not,  indeed,  be  always  an  immediate  object  of  con- 
sciousness ;  the  speaker  need  not  be  always  actual- 
ly thinking  about  it ;  but  it  must  at  all  times  under- 
lie and  support  the  other  intellectual  operations, 
as  the  conception  of  honesty  should  underlie  the  op- 
erations of  a  business  transaction.  It  must  preside 
over  them  all,  and  give  them  direction,  as  in  the 
case  of  the  traveller,  the  conception  of  the  place  to 
which  he  is  going  presides  over,  and  gives  direction 
to  all  his  steps.  It  constitutes  the  light,  or  medium 
of  vision,  through  which  all  subordinate  objects  are 
made  manifest  to  the  speaker's  mind.  For  in  all 
good  delivery  the  speaker  does  not  even  think  of 
what  he  is  saying,  as  having  any  character,  form, 
or  meaning  for  its  own  sake,  but  simply  as  adapted 


86  The  Sources  of  Power. 

to  effect  tlie  object  at  winch  lie  aims  in  the  minds 
of  the  audience. 

2.  This  conception  enables  the  speaker  to  suppress  tht 
rub-processes. 

This  conception  of  the  object,  being  thus  held  in 
the  grasp  of  the  mind,  throws  all  those  intellectual 
operations  which  are  secondary  and  subordinate, 
into  the  background,  and  enables  the  speaker  to 
suppress  them,  so  that  they  shall  not  manifest  them- 
selves in  the  delivery  (§§  22 — 23.)  Thus  it  subordin- 
ates all  the  processes  of  memory,  and  of  reading, 
and  of  invention  and  style  ;  in  this  last  case,  what- 
ever pertains  to  the  extempore  working  out  of  the 
matter  and  form  of  the  discourse.  Hence  these 
sub-processes  have  no  effect  in  marring  or  enfee- 
bling the  delivery. 

§  45.  The  desire  to  accomplish  the  object  is  one  of  the  goy- 
erning  exercises  of  the  sensibility,  quickening  and  regu- 
lating the  whole  mental  action. 

1.  The  influence  of  this  desire  is  analogous  to  that  of 
the  conceptiori  of  the  object,  and  it  extends  beyond  this 
analogy. 

For  it  bears  a  relation  to  the  other  exercises  of 
the  sensibility,  similar  to  that  which  the  conception 
of  the  object  bears  to  the  other  intellectual  pro- 
cesses. This  relation  does  not  therefore  require  to 
be  again  developed,  because  the  analogy  holds  good 
throughout,  even  to  the  fact  that  the  desire  need 
not  be  at  all  times  immediately  prominent  in  the 
consciousness,  although  in  good  speakers  it  is  aL 


Earnestness.  87 

ways  in  full  and  controlling  activity.  But  its  in- 
fluence extends  beyond  this  analogy,  in  that  it  is 
not  limited  to  the  other  operations  of  the  sensibil- 
ity, but  it  affects  also  no  less  powerfully  the  intel- 
lectual faculties,  and  their  operations. 

2.  It  stimulates  and  quickens  all  the  mental  faculties 
to  their  utmost  capacity  of  energy  and  activity. 

This  desire  to  accomplish  the  object,  when  full 
and  strong,  stimulates  the  intellect,  so  that  it  be- 
comes capable  of  more  rapid  and  effective  thinking 
than  it  is  at  other  times.  Its  influence  is  equally 
great  upon  all  those  feelings  whose  function  it  is 
to  co-operate  in  giving  power  to  delivery.  When, 
e.  g.  a  man's  hie,  or  reputation,  or  any  other  object 
most  dear  to  him,  depends  upon  his  convincing  a 
court  of  his  innocence,  the  strength  of  his  desire  to 
accomplish  this  object  can  hardly  fail  to  energize 
all  his  faculties,  both  intellectual  and  emotional, 
to  their  .utmost  capacities. 

3.  It  regulates  the  other  feelings,  the  uncontrolled  ac- 
tivity of  which  might  otherwise  mar  the  delivery. 

Self-control  will  require  to  be  treated  hereafter  as 
an  original  source  of  power  ;  here,  therefore,  it  will 
be  sufficient  to  indicate  the  general  relation  of  this 
desire  to  the  regulation  of  the  emotional  activity. 
In  the  case  above  supposed,  then,  of  a  man  pleading 
for  his  life,  the  desire  to  save  it  weald  prompt  and 
enable  him  to  keep  all  his  other  feelings  under 
severe  restraint,  lest  they  should  manifest  them- 
selves in  such  a  way  as  to  mar  his  delivery,  and 
defeat  his  object.     In  all  other  cases  it  is  indisperi- 


88  The  Sources  op  Power. 

sable  that  this  desire  to  accomplish  the  object  oi 
speaking,  should  never  cease  to  exert  its  influence 
and  control  of  the  other  feelings.  For  if  any  othei 
be  allowed  to  get  the  better  of  this,  and  to  mani^ 
fest  itself  without  control,  it  may  easily  produce  an 
effect  upon  the  audience  directly  the  opposite  of 
that  which  is  desired.  Sorrow,  e.  g.  manifesting 
itself  in  copious  tears,  may  choke  the  utterance, 
and  become  extremely  offensive,  producing  all  the 
effects  of  drivelhng.  Unrestrained  passion  of  any 
kind  may  lead  to  indistinctness  of  articulation,  vo- 
ciferation, and  a  thousand  other  faults,  any  one  of 
which  would  go  far  to  defeat  the  object  of  speaking. 
Even  when  the  desire  to  effect  the  object  may  seem 
to  give  way  for  a  moment  to  an  outgushing  of  pity 
or  grief,  or  to  a  blast  of  indignation  or  scorn,  it  is 
still  necessary  that  it  should  not  really  cease  to 
control  the  other  emotions  and  passions. 

§  46.  Earnestness  purges  the  delivery  from  the  expression 
of  irrelevant  thoughts  and  feelings,  and  gives  to  the  signs 
employed  their  characteristic  excellence. 

From  the  consideration  of  these  two  elements 
which  enter  into  earnestness  in  speaking,  and  of 
their  relations  to  the  other  mental  operations  and 
exercises,  we  shall  be  the  better  able  to  appreciate 
the  influence  of  this  source  of  power  upon  the  de« 
livery. 

1.  It  purges  the  delivery  from  the  expression  of 
irrelevant  thoughts  and  feelings. 

This  at  least  is  always  its  tendency.     For  wh«r 


Eaenestness.  89 

the  intellect  of  the  speaker  is  fully  occupied  with 
the  thought  of  his  object,  and  his  heart  with  tho 
desire  of  accomplishing  it,  this  leaves  no  place  for 
any  thoughts  about  himself,  his  tones,  inflections, 
articulation,  emphasis,  or  gesture,  nor  for  any 
conceits  or  anxieties  about  his  manner ;  conse- 
quently it  purges,  or  tends  to  purge,  his  delivery 
from  the  vices  of  awkwardness,  mannerism  and 
affectation,  in  which  such  thoughts  and  feelings 
never  fail  to  express  themselves.  His  mind,  being 
freed  from  such  distracting  and  enfeebling  occupa- 
tions, naturally  throws  all  its  faculties  and  powers 
into  the  proper  work  of  delivery.  It  may  be  said, 
therefore,  that  nothing  purifies  the  mind  and  whole 
manner  of  the  speaker,  like  being  in  dead  earnest. 

2.  It  gives  to  the  Signs  employed,  whether  oral  or 
visible,  their  characteristic  exce'Ience. 

This  again  is  its  tendency.  It  gives  simplicity 
and  directness  to  the  whole  manner,  and  adapts  it 
to  effect  the  object  in  view.  It  clothes  the  gestures 
with  propriety  and  force.  It  imparts  seriousness 
and  gravity  to  the  features,  depth  and  power  of 
expression  to  the  eye.  It  gives  fullness,  strength 
and  depth  to  the  voice,  and  a  certain  characteristic 
quality,  which  makes  it  seem  to  come  not  so  much 
from  the  throat  or  lungs,  as  from  the  depths  of  the 
heart — a  quality  which  is  sure  to  reach  the  hearts 
of  the  audience.  Also  it  brings  to  bear  upon  the 
audience  a  steady  and  sustained  mental  pressure, 
imparting  a  sostenuto  character  to  the  whole  deliv- 
ery, which  is  never  intermitted  even  in  the  longest 


90  The  Sources  of  Power. 

pauses,  and  which  is  one  of  the  most  telling  trait* 
of  a  strong  delivery.  In  fine,  it  is  the  earnestness  of 
the  speaker,  which,  in  the  words  of  our  greatest 
American  orator,  comes  "  beaming  from  the  eye, 
speaking  on  the  tongue,  informing  every  feature 
and  urging  the  whole  man  onward,  right  onward  to 
his  object." 


§  47.  Particular  occasions  may  inspire  earnestness ;  but  in 
order  to  secure  it  in  speaking  upon  great  social,  moral, 
and  religious  subjects,   it  is  necessary  to  be  an  earnest 


It  can  hardly  be  considered  as  belonging  to  elocu- 
tion to  treat  of  the  means  by  which  earnestness  may 
be  acquired  ;  and  in  so  far  as  this  might  be  proper, 
it  has  been  anticipated  in  the  preceding  discussions 
of  the  means  by  which  we  may  secure  the  requi- 
site feeling  for  each  occasion  of  speaking.  Yet  it 
may  be  well  to  allude  to  one  or  two  points  here,  in 
order  further  to  aid  the  student  in  availing  himself 
of  this  source  of  power  in  delivery. 

1.  There  are  particular  occasions  which  loill  inspire 
any  man  with  earnestness. 

Thus  the  advocate  will  naturally  be  in  earnest  in 
defending  his  client  when  his  professional  reputation 
depends  upon  his  success,  or  when  the  case  will  pay 
well,  or  when  he  desires  to  defeat  and  humble  a  pro- 
fessional rival.  The  politician  also  may  be  very  earn- 
est in  speaking  in  order  to  secure  the  election  of  a 
favorite  candidate,  by  whom  he  hopes  to  be  promot- 
ed to  office,  or  from  other  merely  selfish  and  parti- 


Earnestness.  91 

san  motives.  In  general,  it  is  easy  to  be  in  earnest 
in  the  pursuit  of  any  object  in  which  we  feel  our- 
selves to  be  deeply  and  personally  interested. 

2.  But  in  order  to  be  in  earnest  in  speaking  upon 
great  social,  moral  and  religious  subjects,  it  is  necessary 
to  be  an  earnest  man. 

(1.)  In  the  pulpit  especially,  where  we  address 
frequently  the  same  audience,  upon  great  moral  and 
religious  truths,  all  motives  of  a  selfish  or  world]  j 
character  will  commonly  fail  to  impart  earnestness 
to  the  delivery.  Here  it  is  indispensable  that  the 
whole  moral  nature  of  the  speaker  should  be  habit- 
ually filled  and  inspired,  not  occasionally  and  in  a 
factitious  manner  excited,  by  the  desire  to  accom- 
plish the  object  for  which  he  speaks.  Here  nothing 
can  supply,  even  for  elocutionary  purposes,  the  want 
of  a  living  faith,  and  a  personal  interest,  in  the 
solemn  and  glorious  truth  we  have  to  declare,  or 
the  want  of  a  deep  and  heart-piercing  conviction 
that  the  salvation  of  those  to  whom  we  speak  depends 
upon  their  believing  it,  or  the  want  of  an  habitual 
and  all-constraining  desire  that  they  should  believe 
and  be  saved.  This  was  the  source  of  the  eloquence 
of  the  prophets  and  apostles,  as  it  has  been  of  all 
other  great  and  powerful  preachers  of  the  gospel. 

(2.)  In  like  manner,  all  the  other  great  human  in- 
terests, if  we  would  promote  them  by  speaking, 
must  He  at  all  times  very  near  our  hearts.  They 
must  be  the  objects  for  which  we  not  only  speak, 
but  constantly  live.  We  must  take  serious  views  oi 
serious    things ;    habitually    exclude   all    low   and 


92  The  Sources  of  Power 

grovelling  and  unworthy  thoughts,  and  fill  our  souls 
with  pure,  lofty  and  magnanimous  sentiments ;  sen- 
timents which  are  superior  to  all  selfish  considera- 
tions; sentiments  above  the  fear  of  death,  because 
they  belong  to  that  in  us  which  is  immortal.  In  a 
word,  we  must  be  able  to  draw  our  inspiration  from 
the  deep  fountains  of  patriotism  and  philanthropy, 
from  the  love  of  our  country  and  our  kind,  from  lib- 
erty, justice,  truth  and  God.  It  is  this  which  in- 
spires delivery  with  power. 

3.  Ingenuous  youth  are  naturally  attracted  to  the 
study  of  eloquence. 

Hence  that  beautiful  enthusiasm,  which  is  so  char- 
acteristic of  ingenuous  youth,  naturally  attracts  them 
to  these  studies,  and  prompts  them  to  eloquence ; 
whilst  that  levity  and  mockery  in  presence  of  the 
high  aims  and  solemn  responsibilities  of  life,  in 
which  the  foolish  only  indulge  are  no  less  fatal  to 
their  hopes  of  eloquence  than  of  every  other  excel- 
lence. 


CHAPTER  V. 

THE   MENTAL   STATE   OF    DIRECT   ADDRESS   TO   THE 
AUDIENCE. 

§  48.  The  perfection  of  oratory  is  the  perfection  of  talking 
to  people. 

Oratory  is  oral  discourse  addressed  immediately 
and  directly  to  the  minds  of  people  who  constitute 
an  audience.  Hence  it  may  be  said  that  the  begin- 
ning, middle  and  end  of  oratorical  excellence  is 
nothing  else  but  the  perfection  of  talking  to  people. 
The  mutual  relations  between  the  mind  of  the  speak- 
er and  those  of  the  audience,  are  attention  and  sym- 
pathy on  their  part,  and  on  his,  that  of  speaking 
directly  to  them.  Both  of  these  relations  are  among 
the  most  fruitful  sources  of  power  in  delivery.  The 
full  and  steady  consciousness  in  the  mind  of  the 
speaker,  of  direct  address  to  the  minds  of  the  audi- 
ence before  him,  is  the  third,  and  in  many  respects 
one  of  the  most  important  of  the  four  leading  men- 
tal operations  the  expression  of  which  constitutes 
good  delivery  (§  22.)  In  fact,  it  inspires  elocution 
with  so  many  and  such  great  excellences,  whilst  the 
want  of  it,  which  is  extremely  prevalent,  occasions 

UNIVERSITY 


94  The  Sources  of  Power. 

so  many  and  such   damaging  faults,  that  it  niaj 
properly  be  called  the  first  law  of  oratory. 


§  49.  While  speaking  directly  to  the  audience  tie  speak*  , 
is  engaged  in  his  proper  work,  and  consequently  he  <s 
enabled  to  do  it  well. 

Speaking  directly  to  the  people  before  him  is  the 
orator's  proper  work  in  delivery — his  whole  business 
for  the  time.  Hence  it  requires  his  undivided  atten- 
tion— the  exercise  of  all  his  faculties  and  powers. 
Whilst,  therefore,  he  is  thus  engaged  in  his  proper 
work,  whilst  it  constitutes  the  dominant  operation 
of  his  mind  and  consciousness,  he  is  giving  his  at- 
tention to  what  he  is  about,  he  is  minding  his 
present  business.  The  natural  consequence  of  this 
is  that  he  does  his  work  well,  just  as  in  any  othei 
case  in  which  a  person  gives  himself  up  to  the  work 
which  he  has  in  hand.  Conversely,  when  the 
speaker  loses  his  consciousness  of  direct  address  to 
the  people  before  him,  his  state  of  mind  is  that  of 
forgetting  what  he  is  about ;  he  is  not  minding  the 
business  he  has  in  hand ;  he  is  occupied  with  some- 
thing else,  inconsistent,  and  often  totally  incompati- 
ble with  the  expression  of  what  he  has  to  deliver. 
Hence  it  becomes  impossible  for  him  to  do  his  work 
well,  just  as  in  every  other  case  in  which  a  person 
forgets  what  he  is  about,  and  allows  his  mind  tc 
become  otherwise  occupied. 


Dikect  Address  to  the  Audience.         95 

§  50.  Speaking  directly  to  the  audience  brings  the  speaker 
into  the  true  vital  relations  to  them,  by  which  he  is  en- 
abled to  grasp  them  with  his  mind,  and  exert  a  direct 
mental  influence  upon  them. 

1.  The  vital  relations  of  the  speaker  to  his  audience 
are  similar  to  tliose  of  the  great  musical  artist 

These  relations  are  of  the  utmost  importance  in 
delivery,  as  also  in  music ;  and  hence  they  will  re- 
quire to  be  more  fully  treated  under  the  head  of 
attention  and  sympathy  as  a  source  of  power.  In 
explanation  of  them,  it  may  be  proper  to  refer  to  a 
conversation  which  occurred  between  the  author 
and  Ole  Bull,  the  Norwegian  violinist.  Speaking  of 
the  effect  of  his  "  Mother's  Prayer,"  which  the  eve- 
ning before  had  melted  the  audience  to  tears,  he 
said :  "  Do  you  know  that  I  do  not  produce  these 
effects  by  the  mere  sounds  of  my  violin?  I  pro- 
duce them  by  the  direct  action  of  my  mind  upon 
the  minds  of  the  audience.  I  employ  the  tones  of 
the  instrument  simply  for  the  purpose  of  opening 
the  channels  through  which  I  myself  act  upon  their 
hearts."  This  idea  he  then  proceeded  to  unfold 
in  a  profound,  but  somewhat  mystical  discourse 
upon  the  mental  sources  of  power  in  art. 

2.  In  these  relations  tlie  speaker  grasps  his  audience 
with  his  mind,  and  exerts  that  direct  mental  influence 
wjyyit  them  which  is  the  magnetism  of  eloquence. 

Speaking  directly  to  the  audience  implies  of 
course  a  strong  consciousness  of  their  presence,  and 
of  the  thoughts  or  sentiments  as  addressed  to  them. 
It  implies, moreover,  that  the  speaker  thinks  of  thf  m 


96  The  Soukces  of  Power. 

as  people,  that  is,  as  persons  clothed  with  aU  the 
attributes  of  hitman  beings,  in  a  word,  as  men  and 
women.  He  grasps  them  thus  with  his  mind,  and 
holds  them  steadily  in  his  mental  grasp.  This  en- 
ables him  to  gain  their  attention  and  sympathy, 
and  to  bring  all  his  personal  power,  as  a  man,  to 
bear  upon  them,  as  men  and  women  of  like  pas- 
sions with  himself.  Thus  he  pours  his  thoughts 
and  feelings  into  them  through  the  open,  but  ever 
mysterious  channels  of  the  sympathetic  affections. 
This  direct  mental  action  of  the  speaker  upon  the 
minds  of  the  audience,  is  one  of  the  great  secrets 
of  a  powerful  delivery ;  it  is  the  magnetism  of  elo- 
quence. 

3.  The  loss  of  the  consciousness  of  speaking  directly 
to  the  audience  breaks  up  these  vital  relations,  paralyzes 
the  action  of  tJie  sjoeakers  mind  upon  the  audience,  and 
-enders  it  subject  to  the  dominant  influence  of  the  sub- 
processes. 

Whenever  the  mental  act  of  speaking  directly  to 
the  audience  ceases,  or  ceases  to  be  one  of  the 
dominant  mental  operations,  the  speaker  no  longer 
recognizes  the  presence  of  the  audience,  or  it  be- 
comes to  him  something  dim,  shadowy  and  inef- 
fectual. He  does  not  grasp  them  with  his  mind, 
nor  engage  their  attention.  His  thoughts  are  with 
drawn  from  them,  and  leave  their  thoughts  to  wan 
der  from  him,  and  from  aUl  that  he  pretends,  but 
u  terly  fails  to  say  to  them.  The  leading  opera- 
tions of  his  mind  become  those  of  invention  and 
style,  or  those  of  remembering,  or  those  of  taking 
in  the  sense  of  his  manuscript ;   or  his  mind   be* 


DlKECT  ADDEESS    TO    THE   AUDIENCE.  9? 

comes  chiefly  occupied  with  other  irrelevant  thoughts, 
perhaps  still  more  incompatible  with  true  ex- 
pression Heuce  the  delivery,  if  such  it  may  be 
called,  being  of  necessity  the  expression  of  the  men- 
tal operations  in  which  he  is  immediately  and 
chiefly  engaged  (§  21),  becomes  wholly  false  and 
powerless. 

$  51.  Speaking  directly  to  the  audience  moulds,  adapts 
and  directs  all  the  signs  employed  to  their  true  object  or 
aim. 

1.  The  signs  employed  in  speaking  to  others  are 
different  from  those  employed  in  solitary  musing,  or 
when  the  consciousness  of  the  presence  of  others  is  lost. 

The  same  thoughts  and  feelings  when  expressed 
in  the  presence  of  others,  and  directed  to  their 
minds,  commonly  take  somewhat  different  signs, 
both  oral  and  visible,  from  those  which  are  natural 
when  one  is  speaking  to  himself.  In  some  cases 
this  difference  may  appear  to  be  very  slight,  but  it 
is  not  therefore  insignificant.  In  others  it  is  evi- 
dent and  palpable ;  as,  e.  g.  in  the  greater  degree 
of  loudness  and  distinctness  which  is  natural  in 
speaking  to  a  large  audience,  compared  with  what 
would  be  required  in  solitary  musing.  In  like  man- 
ner, it  will  be  found  upon  careful  observation,  that 
the  manifestations  of  love,  anger,  disgust,  and  all 
other  feelings,  in  the  presence  of  others,  and  as 
directed  to  their  minds,  cannot  be  confounded  with 
those  which  these  passions  sometimes  seek  in  soli- 
tude for  their  own  relief,  or  when  the  consciousness 
of  the  presence  of  the  audience  is  lost. 


98  The  Sources  of  Power. 

2.  The  consciousness  of  speaking  directly  to  tht 
audience  gives  their  true  form  and  character  to  all  tJu 
signs. 

Inasmuch  as  all  speaking  consists  in  the  expres- 
sion of  the  leading  operations  of  the  speaker'^ 
mind  (§  21),  it  is  evident  that  the  mental  action  oi 
speaking  directly  to  the  audience  must  always  pre- 
dominate in  the  consciousness  of  the  speaker,  in 
order  that  the  delivery  should  take  on  its  true 
character  and  form,  and  should  keep  true  to  its 
object.  It  is  this  mental  state  which  gives  to  all 
the  signs,  both  of  voice  and  gesture,  their  last 
modification  and  adaptation  to  the  object  which 
they  aim  to  effect.  The  mind  of  the  speaker,  e.  g., 
being  directed  to  his  audience,  his  eye  naturally 
follows  his  mind — he  looks  at  them  ;  and  not  barely 
as  "  a  sea  of  faces,"  without  distinction,  but  he 
scans  their  individual  countenances,  notes  their 
several  expressions,  and  thus  becomes  conscious  of 
the  effect  which  he  is  producing  upon  them.  All 
the  gestu  res  are  affected  in  a  similar  manner.  Thus 
also  the  voice,  as  we  have  seen,  naturally  becomes 
sufficiently  loud,  and  the  articulation  sufficiently 
hard  and  firm,  to  ensure  that  the  speaker  shall  be 
heard  and  understood  by  the  most  distant  persoij 
to  whom  he  is  speaking.  Similar  modifications  are 
produced  upon  every  sound,  and  every  variation  of 
sound,  which  he  utters.  In  fine,  it  is  this  conscious- 
ness of  the  presence  of  the  audience,  and  of  speak- 
ing directly  to  them,  for  the  accomplishment  of 
his  object,  which  gives  the  last  moulding  touch  tc 
all  the   signs.     It  is  this  which  gives  point   am7 


DlKECT  ADDliESS  TO   THE  AUDIENCE.  99 

direction  to  all  those  arrows  of  significant  sound 
and  gesture,  which  every  moment  are  launched,  by 
the  force  of  his  thoughts  and  passions,  from  the 
speaker's  lips,  eyes,  countenance,  and  from  all  the 
motions  of  his  hands,  arms  and  body,  into  the 
minds  and  hearts  of  his  audience,  and  which  makes 
them  feel  that  they  are  the  object  of  a  well- 
manned  battery,  playing  upon  them  with  no  uncertain 
aim. 


§  52.  The  loss  of  this  consciousness  of  direct  address  loads 
the  delivery  with  vices,  by  rendering:  it  the  expression  ol 
the  sub-processes,  by  perverting  all  the  signs,  and  bj 
enfeebling  its  rhetorical  form. 

1.  It  renders  the  speaking  the  expression  of  the  sub- 
processes. 

Whenever  this  consciousness  of  speaking  directly 
to  the  audience  ceases  to  be  a  dominant  operation 
of  the  speaker's  mind,  it  naturally  gives  place  to 
some  of  the  sub-processes  (§23).  These  now  be- 
come the  leading  mental  operations,  and  give  shape 
and  form  to  all  the  signs;  and  the  expression  of 
these  sub-processes  constitutes  the  delivery.  If 
this  leading  operation  be  that  of  recalling,  by  a 
labored  effort,  what  the  speaker  has  committed  to 
memory,  his  speaking  becomes,  as  we  shall  see 
more  fully  hereafter,  nothing  but  a  wretched  per- 
formance upon  this  mental  act  of  remembering, 
without  any  true  or  vital  relation  to  the  communi- 
cation to  others  of  the  thoughts  or  sentiments  oi 
his  speech.     If  it  be  that  of  extempore  invention, 


LOO  The  Sources  of  Poweb. 

he  stands  musing  before  the  audience,  instead  ol 
speaking  to  them ;  and  if  it  be  that  of  taking  in 
the  sense  of  his  manuscript  through  the  eye,  the 
3peaking  truly  expresses  that,  and  nothing  else. 
In  fine,  if  the  leading  mental  exercise  be  that  oi 
thinking  about  himself,  his  tones,  inflections,  artic- 
ulations, emphasis,  or  gestures,  or  of  seeking  to 
know  what  the  people  think  of  him,  whether  he  is 
succeeding  or  not,  or  of  anxiety  or  fear  lest  he 
should  be  making  a  failure — no  matter  what  it  is 
which  now  constitutes  the  leading  operation  of  his 
mind,  it  must  be  this,  and  nothing  else,  which  he 
expresses  and  delivers  to  the  audience. 

2.  It  deforms  and  perverts  all  tJw  signs. 

The  mind  of  the  speaker  being  withdrawn  from 
the  audience,  his  eye  again  follows  his  mind.  It 
ceases  to  take  in  the  people  before  him  ;  it  becomes 
either  vacant,  expressing  abstraction  from  the  busi- 
ness in  hand,  or  it  wanders  listlessly  over  the  audi- 
ence, with  a  dim  and  confused  glance  which  takes 
note  of  nothing,  or  it  is  raised  to  the  ceiling,  or  con- 
fined to  tae  manuscript,  or  closed.  The  voice  nc 
longer  adapts  itrtclf  to  the  size  of  the  audience  ;  it 
is  either  too  low,  or  too  loud  ;  the  movement,  either 
toe  fast  or  too  slow ;  and  those  variations  required 
by  the  sentiment  are  no  longer  given.  All  the 
sounds  and  gestures  become  equally  inappropriate, 
and  foreign  to  the  communication  and  impression 
of  the  thoughts  and  feelings  which  the  words  ar* 
intended  to  express. 


Direct  Addhesb  to  the  Audience.        103 

3.  It  vitiates  the  delivery  by  enfeebling  its  rhetorico* 
forms. 

The  loss  of  this  consciousness  perverts  those 
forms  in  which  the  speaker  seems  to  address  thfl 
audience  most  directly,  into  such  feeble  abstractions 
as  the  phrase,  "  my  hearers,"  in  the  place  of  strong 
personal  attributes,  such  as  "my  friends,"  "my 
neighbors,"  "  my  brethren,"  "  my  countrymen,"  "my 
fellow  citizens."  For  "  my  hearers,"  though  often 
heard  from  the  lips  of  good  speakers,  is  essentially 
vicious,  because  it  does  not  spring  out  of  the  con- 
ception of  the  audience  as  composed  of  persons, 
with  all  the  passions  of  human  beings,  but  regards 
them  as  abstractions,  clothed  with  the  single  function 
of  hearing.  How  wretchedly  does  it  compare 
with  the  "AvSps?  'ASrfvawi,  of  Pericles  and  Demos- 
thenes, and  with  the  "Avdpss  'adeXqjoi,  of  St.  Peter 
and  St.  Paul!  If  the  speech  which  Shakspeare 
puts  into  the  mouth  of  Brutus,  on  the  death  of 
Cesar,  began  with  "  my  hearers,"  instead  of  "  Bo- 
mans,  countrymen,  and  lovers,"  not  Eoscius  himself, 
nor  Garrick,  nor  Kemble  could  give  it  any  power  in 
delivery 


$  53.  The  way  to  maintain  this  consciousness  of  direct  ad* 
dress  to  the  audience  is  to  be  in  earnest. 

The  only  influence  which  can  enable  the  speaker 
to  maintain  in  constant  activity  the  consciousness 
that  he  is  speaking  directly  to  the  audience,  is  the 
full  and  clear  conception  of  the  ob;  ect  at  which  he 


L02  The  Sources  of  Poweb. 

aims,  and  the  strong  desire  to  accomplish  it ;  that  is, 
to  be  in  earnest  But  this  is  itself  so  fruitful  a  source 
ci  power,  that  it  has  already  required  to  be  treated 
separately. 


CHAPTER  VI. 

ATTENTION   AND    SYMPATHY. 

i  64.  Attention  and  sympathy  are  so  connected  \s\ih  each 
other  as  to  form  one  source  of  power  in  delivery. 

Sympathy  is  here  taken  in  its  most  comprehensive 
sense,  as  inclusive  of  all  the  sympathetic  relations 
and  influences  between  the  audience  and  speaker, 
and  between  the  individuals  of  whom  the  audience 
is  composed.  The  attention  of  the  audience  is  here 
joined  with  sympathy,  making  one  source  of  power 
in  delivery,  for  the  reason  that  it  is  the  necessary 
condition  apart  from  which  the  sympathetic  affec- 
tions cannot  be  excited  in  the  interest,  or  in  aid  of 
elocution.  Each  however  has  its  separate  relations 
to  elocutionary  power,  which  must  not  be  overlooked. 

^55.  Eloquence  is  the  joint  product  of  the  mental  action  of 
the  speaker  and  audience;  the  orator's  sensibility  to 
the  states  of  mind  in  the  audience  is  very  great. 

I.  The  reciprocal  influence  of  speaker  ard  audience. 
in  of  great  importance,  especially  where  the  speaker 
frequently  addresses  the  same  audience. 

This  reciprocal  influence  is  productive  of  sc  me  of 


104  The  Sources  oi  Power. 

the  most  interesting  and  important  results  in  elocrn 
tion.  In  fact  it  is  such  that  good  delivery,  and  even 
eloquence  itself,  may  properly  be  regarded  as  a 
joint  product  of  the  mental  operations  of  speaker 
and  audience.  It  can  hardly  be  over  estimated 
where  the  speaker  is  called  frequently  to  ad- 
dress the  same,  or  nearly  the  same  audience,  as 
in  the  case  of  the  pastor  of  a  Christian  congrega- 
tion. 

(1.)  The  influence  of  the  speaker  upon  the  audi- 
ence is  exemplified  in  the  case  of  a  pastor  who  is 
dull  and  feeble  in  his  delivery.  For  the  tendency 
of  his  spiritless  harangues  is  to  render  the  audi- 
ence habitually  inattentive,  unsympathizing  and 
insensible.  But  if  the  pabtor  be  an  animated  and 
interesting  speaker,  the  tendency  of  his  ministra- 
tions will  be  to  develop  habits  of  attention  and  sym- 
pathy in  his  people,  to  sharpen  their  minds,  and 
quicken  their  sensibilities,  and  to  render  them  more 
and  more  appreciative  of  eloquence. 

(2.)  The  influence  of  the  audience  upon  the 
speaker  is  such  that  an  attentive  and  sympathizing 
congregation  can  hardly  fail  to  develop  speaking 
talents,  and  powers  of  eloquence,  in  their  pastor, 
of  which  in  other  circumstances  he  might  never 
have  become  conscious,  nor  given  any  manifestation  ; 
whilst  an  inattentive,  unsympathizing  and  stupid 
people  will  exert  a  strong  influence  to  dwarf  the 
faculties,  and  put  out  the  intellectual  light  of  their 
minister,  who  might  otherwise  have  attained  to  no 
inconsiderable  excellence  as  a  pulpit  orator. 


Attention  and  Soipathy.  10£ 

2.  The  sensibility  of  the  true  orator  to  the  mental 
state  of  tJie  audience  is  very  great. 

In  fact  the  degree  of  this  sensibility  is  an  infalli- 
ble test  of  natural  genius  for  public  speaking.  Foi 
he  who  does  not  feel  the  need  of  the  attention  and 
sympathy  of  his  audience,  who  hardly  knows  wheth- 
er he  has  it  or  not,  and  who  can  speak  about  as  well 
without  it  as  with  it — for  there  are  such  speakers — 
that  man  is  incapable  of  eloquence,  and  ought  to 
dismiss  all  thoughts  of  becoming  an  orator.  The 
speaker  who  has  any  natural  adaptation  or  genius  for 
this  art,  seems  to  reflect,  as  it  were,  all  the  states 
and  changes  of  miud  and  feeling  which  take  place 
in  those  to  whom  he  is  speaking.  He  seems  to 
know  by  instinct  whether  he  is  heard  by  the  whole 
audience,  whether  he  has  their  attention,  whether 
they  understand  what  he  is  saying,  and  whether 
they  are  favorably  or  unfavorably  affected  by  it ;  and 
he  feels  as  if  it  were  almost  impossible  for  him  to 
proceed  in  his  discourse,  until  he  has  succeeded  in 
fixing  their  attention,  and  in  gaining  their  sympa- 
thy. 

3.  In  hie  most  favorable  moods  this  sensibility  some' 
times  rises  to  an  almost  preternatural  height. 

In  such  mental  states  the  speaker  is  affected  by 
every  breath  or  current  of  thought  and  feeling  in  the 
audience.  He  feels  himself  to  be  the  object  of  a  sep- 
arate stream  of  mental  influence  from  every  persor 
in  the  audience,  as  if  they  were  all  so  many  gal- 
vanic batteries,  with  all  the  several  wires  of  com 
munication  centring  in  his  own  bosom.     By   sue  I 


106  The  Sources  of  Tower. 

mysterious  cords  of  sympathetic  communion,  aL 
their  states  of  mind,  and  changes  of  feeling,  are 
telegraphed  to  his  mind.  When  he  is  in  the  full 
tide  of  successful  oratory,  sweeping  the  whole  au- 
dience along  with  liim,  as  a  river  at  flood,  if  then 
he  should  happen  to  say  anything  which  calls  forth 
opposition,  or  if  unexpectedly  there  should  be  start- 
ed some  oblique  or  contrary  current  in  their  minds, 
he  becomes  aware  of  it  the  moment  he  enters  it, 
even  when  he  may  be  wholly  unable  to  divine  its 
cause,  or  what  he  may  have  said  to  excite  it  The 
swimmer  passing  suddenly  from  a  warm  into  a  cold 
ourrent  of  water,  cannot  be  more  immediately  sen- 
sible of  the  change. 

^  56.  The  quickening  influence  which  the  audience  exert* 
upon  the  faculties  of  the  speaker,  is  one  of  the  most  fruit- 
ful sources  of  power  in  delivery. 

1.  Even  opposition  in  the  audience  may  aid  the 
speaker. 

Such  extreme  sensibility  as  that  which  has  just 
been  described,  has  indeed  its  disadvantages,  but 
its  advantages  greatly  preponderate.  A  speaker 
who  lacks  confidence  may  be  overcome  by  an  ad- 
verse state  of  mird  in  the  audience,  so  that  he  can- 
not proceed.  But  its  effects  upon  a  strong  speaker, 
who  is  confident  of  his  powers,  is  to  excite  and 
nerve  him  to  greater  efforts  to  make  head  against 
the  opposition,  and  to  overcome  it.  Thus  the  ad- 
verse influence  is  converted  into  a  stimulus  and 
quickening  of  all  his  faculties  and  powers. 


Attention  and  Sympathy.  107 

2.  A  favorable  sentiment  in  the  audience  has  jl  still 
'j neater  quickening  influence. 

When  the  impression  which  the  speaker  makes 
is  altogether  favorable,  as  the  audience  becomes 
more  and  more  attentive,  and  more  and  more  favor- 
ably excited,  he  draws  from  their  states  of  mind, 
e^ery  moment,  new  and  stronger  inspiration,  and 
ever-increasing  power.  The  tension  of  thought  in 
the  audience,  and  their  excited  feelings,  poured  in 
upon  him  through  the  channels  of  sympathy,  in- 
tensify the  action  of  his  own  intellect,  flood  his 
heart  with  emotion,  and  quicken,  purify  and  elevate 
every  faculty  of  his  mind  and  body.  Sometimes  this 
influence  will  seem  almost  to  lift  him  off  his  feet ;  he 
will  seem  to  tread  on  air.  He  now  speaks  in  a  kind 
of  ecstasy  or  rapture.  However  long  he  may  be  en- 
gaged, he  is  unconscious  of  fatigue  or  effort.  All 
seems  to  pass  in  a  moment  of  time.  The  audience 
also  are  unconscious  of  time,  for  this  is  eloquence. 

§  57.  The  attention  and  sympathy  of  the  audience  enable  the 
speaker  to  suppress  the  sub-processes,  and  to  exert  all 
his  faculties  in  the  proper  work  of  delivery. 

These  are  the  more  special  benefits  which  are  de- 
rived froin  this  source  of  power ;  not,  however,  that  it 
will  yield  them  to  every  speaker,  but  such  is  its  ten- 
dency. 

1.  An  attentive  and  sympathizing  audience  relieves 
the  speaker  from  the  consciousness  of  the  sub-processest 
and  enables  him  to  suppress  them. 

This  arises  from  the  tact  just  exhibited,  that  th# 


108  The  Sources  of  Poweb. 

influence  of  such  an  audience  quickens  and  inten 
sines  that  whole  mental  action  which  is  engaged  ir 
the  expression  and  communication  of  thought. 
Under  this  influence,  if  the  speaker  uses  his  manu- 
script, he  is  unconscious  of  being  dependent  upon 
it ;  he  does  not  know  that  he  turns  the  leaves,  noi 
even  that  he  has  it  before  him.  Speaking  from 
memory,  he  is  unconscious  of  the  exercise  of  this 
faculty ;  a  flood  of  light  seems  to  pour  itself  over 
the  whole  discourse  in  his  mind ;  so  that  by  a  single 
mental  act,  he  comprehends  and  sees  it  from  be- 
ginning to  end.  Speaking  extempore,  he  is  un- 
conscious of  labor  or  effort  in  invention,  arrange- 
ment, or  verbal  expression;  his  thoughts  seem  to 
come  by  inspiration,  to  fall  of  themselves  into  the 
most  appropriate  and  lucifl  order ;  to  choose  their 
own  words,  and  to  secure  the  most  effective  utter- 
ance. Thus  released  from  the  consciousness  of 
these  and  other  sub-processes,  he  instinctively  sup- 
presses all  manifestation  of  them ;  they  have  no 
tendency  to  appear  in  false  intonation,  misplaced 
emphasis,  nor  in  any  other  of  those  innumerable 
vices,  with  which  they  are  otherwise  certain  to 
load  and  enfeeble  the  delivery. 

2.  The  influence  of  such  an  audience  ertables  the 
speaker  to  exert  all  his  faculties  in  the  proper  work  of 
delivery. 

The  whole  tendency  of  such  attention  and  sym- 
pathy, is  to  render  all  the  other  sources  of  power 
available  in  the  highest  degree.  For  it  establishes 
and  confirms  in  the  mind  of  the  speaker  the  con- 


Atteniion  and  Sympathy.  109 

sciousness  of  speaking  directly  to  the  people  before 
him;  it  enables  him  to  grasp  and  hold  fast  the 
object  which  he  aims  to  accomplish  in  their  min*is, 
and  intensifies  his  desire  to  accomplish  it ;  it  deep- 
ens his  feeling  of  the  power  of  the  thoughts  and 
sentiments  which  he  expresses ;  it  fills  his  heart 
with  the  emotions  which  he  seeks  to  excite  in  the 
audience ;  and  it  gives  him  confidence  by  assuring 
him  that  he  is  not  making  a  failure,  but  is  achiev- 
ing success. 

3.  It  purifies  the  signs  employed,  and  renders  them 
forcibly  expressive. 

As  the  effect  of  the  speaking  becomes  more  and 
more  apparent,  in  the  increasing  stillness  and  at- 
tention of  the  audience,  this  effect  returns  upon  the 
speaker  himself,  with  a  corresponding  increase  of 
his  power  over  the  signs  which  he  employs.  His 
efforts  are  intensified  that  he  may  not  allow  the 
audience  to  lose  a  thought,  nor  the  shade  of  a 
thought,  which  he  has  to  deliver.  Thus  his  artic- 
ulation is  purified  and  strengthened ;  his  voice  in- 
creases in  force,  compass  and  flexibility ;  it  be- 
comes more  full  and  deep  and  pure  ;  greater  breadth 
and  significance  are  given  to  his  inflections  ;  his 
eye  and  countenance  become  more  animated  and 
expressive.  The  position  and  motions  of  his  body 
become  more  graceful,  appropriate  and  striking; 
and  the  gestures  made  with  his  arms  and  hands 
more  free  and  forcible  A  similar  effect  is  pro- 
duced upon  all  the  sounds  he  utters,  and  upon  aH 
Uis  gestures. 


110  The  Sources  of  Power. 

§  68,  The  effect  of  Ike  speaking  is  greatly  increased  by  tin 
sympathy  of  the  audience  with  each  other. 

1.  The  sympathy  of  the  audience  with  each  other  U 
one  of  time  influences  which  make  oral  superior  to 
written  discourse. 

The  influence  of  such  sympathy  can  hardly  be 
overestimated,  although  the  manner  in  which  it 
produces  its  effects  is  very  imperfectly  understood. 
Both  thought  and  feeling  are  thus  propagated 
from  mind  to  mind,  and  from  heart  to  heart.  This 
fact  goes  far  to  explain  the  superiority  of  oral  over 
written  discourse,  that  the  highest  form  of  eloquence 
is  embodied  in  oral  speaking  (§  2 — 1,  2),  and  that  the 
gospel  must  be  proclaimed  by  the  voice  of  the  liv- 
ing preacher  (§  7). 

2.  It  gives  to  discourse  an  effect  beyond  its  inherent 
merits. 

Counting  upon  the  influence  of  this  sympathetic 
action  of  the  minds  of  the  audience  upon  each 
other,  the  speaker  may  expect,  and  thus  become 
enabled  to  produce  vastly  greater  results  than 
were  otherwise  possible.  His  thoughts  and  senti- 
ments, when  he  comes  to  deliver  them,  will  naturally 
have  a  far  greater  effect  upon  the  audience  than 
could  be  anticipated  from  their  intrinsic  merit.  In 
fact  that  which  in  the  study  appears  to  be  compar- 
atively poor  and  feeble,  is  often  thus  found  in 
delivery  to  have  the  effect  of  eloquence. 

3.  The  attention  of  the  audien  k  is  indispensable  k 
this  sympathy. 

In  order  to  such  results,  it  is  necessaty  thai  the 


Attention  and  Sympatly.  Ill 

attention  of  the  audience  should  first  be  gained, 
and  concentrated  upon  the  thoughts  and  senti- 
ments of  the  speaker,  as  they  are  delivered.  This 
is  indispensable  to  the  free  play,  and  greatest  effect 
of  the  sympathetic  action.  For  even  a  single 
person  who  is  inattentive,  or  whose  mind  is  other- 
wise occupied,  not  only  fails  to  contribute  his  share 
to  the  effect,  but  he  presents  an  obstacle  to  the 
propagation  and  flow  of  the  common  feeling,  and 
exerts  a  positive  influence  in  crossing  and  confus- 
ing the  mysterious  currents  of  sympathy  and 
thought. 

4.  Concentration  of  the  faculties  of  aU  intensifies  the 
result. 

When  the  attention  of  the  audience  has  been 
gained,  their  sympathies  with  each  other  begin  to 
act;  and  then  all  their  intellectual  power,  and  all 
their  sensibilities  are  easily  excited,  by  the  mutual 
action  of  their  faculties  upon  each  other.  For  when 
the  minds  of  a  whole  assembly  are  thus  occupied 
with  one  and  the  same  thought,  as  this  is  expressed 
by  the  speaker,  that  thought  is  perceived  more 
clearly,  and  felt  more  deeply,  than  it  could  ever  be 
by  any  individual  alone  ;  and  when  a  common  pas- 
sion has  been  excited  in  a  crowded  audience,  it 
works  more  powerfully,  and  produces  unspeak- 
ably greater  effects,  than  in  any  other  circum- 
stances. 


$  59.  The  means  of  engaging  attention  and  sympathy  art 
sentiments  worthy  of  attention,  a  simple,  earnest  and 


112  The  Sources  of  Power. 

respectful  manner  and  tones,   the  eye  fixed  upon  th< 
audience,  pauses  and  striking  figures  of  speech. 

L  AU  pains  should  be  taken  to  engage  the  attention 
and  sympathy  of  the  audience. 

The  importance  of  this  source  of  power  is  evident 
from  what  has  been  said ;  in  fact  it  is  such  that  the 
speaker  should  neglect  no  lawful  means  to  avail 
himself  of  it.  It  would  seem  that  a  great  many  oi 
the  eccentricities  which  appear  in  some  popular 
orators,  both  in  their  style  and  manner  of  delivery, 
are  to  be  understood  as  mere  expedients  to  awaken 
and  fix  attention.  Such  eccentricities  cannot  be 
justified,  although  they  may  be  pardoned,  because 
there  are  perfectly  legitimate  means  of  securing  this 
indispensable  result,  which,  rightly  applied,  can 
hardly  fail  on  any  ordinary  occasion.  They  are 
partly  of  a  rhetorical  character,  and  belong  only  in 
part  to  elocution. 

2.  The  speaker  must  lvave  something  to  say  which  is 
worthy  of  attention,  and  adapted  to  awaken  sym- 
pathy. 

This  is  the  first  and  most  important  of  such 
means,  one  which  will  go  far  to  secure  the  end  ; 
whilst  without  this,  everything  else  ought  to  fail,  and 
in  the  long  run  is  pretty  certain  to  do  so.  (See  Part 
I.  Chap.  II.) 

3.  His  manner  and  tones  must  be  simple,  earnest  and 
respectful. 

A  simple,  frank  and  artless  manner,  free  from 
pretentiousness  and  affectation,  and  one  at  the  sam# 


Attention  anl  Sympathy.  113 

time  earnest,  respectful  and  affectionate,  has  great 
power  to  engage  attention,  and  awaken  sympathy. 
These  are  the  principal  elements  of  what  is  called 
an  engaging  manner.  Nothing  is  more  engaging 
than  childlike  simplicity.  An  affected,  pretentious, 
or  pompous  manner  forewarns  the  audience  that 
the  speaker  is  a  fool.  Also  the  tones  of  the  speak- 
er's voice  should  express  sincere  respect  for  the 
audience,  an  affectionate  interest  in  them,  and  an 
earnest  desire  for  their  attentive  and  favorable  con- 
sideration of  what  he  has  to  say — as  if  he  felt,  what 
he  ought  always  to  feel,  that  it  were  almost  impossi- 
ble for  him  to  proceed  without  it. 

4.  The  speaker's  eye  should  be  fixed  upon  the  au- 
dience. 

It  is  indispensable  that  the  speaker  should  not 
allow  his  eye  to  become  fixed  upon  his  manuscript, 
nor  to  wander  around  the  walls,  or  up  to  the  ceiling, 
aor  to  express  in  any  way  abstraction  from  the 
business  in  hand.  He  must  bring  his  eye  to  bear 
steadily  upon  the  people  before  him,  scanning  their 
countenances  individually,  and  noting  every  sign  oi 
attention,  or  of  the  want  of  it.  Where  he  perceives 
inattention,  or  any  lack  of  interest,  he  should  keep 
looking  at  the  persons  in  whom  it  is  manifested,  and 
seem  to  direct  his  words  more  particularly  to  them, 
until  he  makes  them  feel  that  he  is  almost  calling 
them  by  name.  This  however  requires  care  to 
avoid  giving  offence.  He  must,  indeed,  be  ever  on 
his  guard,  in  such  circumstances,  against  the  temp* 
tation  to  manifest  annoyance  or  irritation. 


114  The  Sources  of  Power. 

6.  Fames  and  striking  figures  of  speech  may  be  in> 
trodiiced. 

When  the  speaker  finds  it  difficult  to  fix  atten- 
tion, he  may  resort  to  other  expedients  which,  in 
favorable  circumstances,  ought  not  to  be  necessary. 
One  of  these  is  to  pause  in  his  exordium,  and  remain 
silent  for  a  moment,  until  his  object  is  gained. 
Another  is  to  throw  into  his  discourse  a  more  than 
common  bold  and  striking  rhetorical  figure.  Either 
of  these  expedients  will  hardly  ever  fail  to  secure 
immediate  and  fixed  attention. 

6.  In  difficult  cases  he  may  exercise  authority  over  the 
audience,  but  with  special  care  not  to  manifest  irritation. 

Whenever  the  audience  proves  refractory  in  an 
extraordinary  degree,  which  will  sometimes  be  the 
case,  the  orator  must  not  yield  to  them,  or  he  is 
lost.  He  must  try  to  rise  with  the  difficulty,  and 
by  his  voice,  countenance  and  manner,  exert  a 
certain  authority  over  them,  for  which  his  position 
and  relations  to  them  afford  him  peculiar  advan- 
tages. But  here  again  he  must  be  on  his  guard 
against  irritation.  For  if  he  show  temper,  they 
will  not  be  slow  to  perceive  that  they  have  gained 
the  mastery  ;  and  having  discovered  his  weak  point, 
they  will  not  be  tender  of  it.  Therefore,  with  un- 
ruffled temper,  and  perfect  good  nature,  by  his  eye. 
countenance,  tones  and  whole  manner,  he  should 
seem  to  say,  My  friends,  I  am  here  to  speak  to 
you,  and  I  am  going  to  do  it ;  you  are  here  to 
listen,  and  you  have  got  to  do  it — the  sooner  yon 
begin,  the  better  it  will  be  for  us  both. 


Attention  and  Sympathy.  115 

7.  Some  such  means  as  the  preceding  ivitt  commonly 
prove  effectual. 

By  such  means  as  these,  unless  there  be  some 
extraordinary  cause  of  opposition,  the  orator  can 
hardly  fail  to  succeed  in  fixing  the  attention  of  his 
audience,  through  which  he  may  readily  excite 
fcheir  sympathies,  and  derive  all  the  aids  to  delivery 
which  flow  from  this  source  of  power. 


CHAPTEK  TIL 

MASTERY   OP    THE   SUBJECT-MATTER   IN  EXTEM- 
PORE DISCOURSE. 

§  60,  Mastery  of  the  subject  is  a  source  of  power  in  ererj 
species  of  delivery,  but  especially  in  extempore  speaking. 

It  is  a  fundamental  principle,  alike  applicable  tc 
every  species  of  discourse,  that  we  must  have  some 
notion  of  what  we  are  going  to  say,  before  we  un- 
dertake to  say  it.  Speaking,  therefore,  on  any  seri- 
ous occasion,  without  preparation  beforehand,  ex- 
cept where  it  cannot  be  avoided,  is  a  very  foolish 
thing,  which  no  sensible  man  will  ever  allow  himself 
to  do,  except  under  dire  necessity ;  nor  then  does  he 
ever  expect  to  do  justice,  either  to  himself  or  his 
subject,  in  rhetoric  or  elocution.  But  here  this 
source  of  power  is  to  be  treated  in  its  special  re- 
lations to  extempore  speaking,  under  which  ex- 
pression is  included  all  forms  of  delivery,  except 
those  in  which  the  discourse  is  fully  written  out. 
and  spoken  either  from  memory  or  manuscript. 
In  this  case,  the  more  full  and  complete  our  mas- 
tery of  the  subject-matter  of  discourse,  the  more 
fruitful  as  a  source  of  j*ower  in  elocution  does  it 
become. 


Mastery  of  the  Subject.  117 


$  61.  The  necessity  of  full  preparation  beforehand  is  evinced 
from  the  number,  complexity  and  difficulty  of  the  sub- 
processes,  which  must  be  carried  on  simultaneously  in 
strictly  impromptu  speaking. 

1.  The  number  and  complexity  of  these  processes  it 
almost  incredible. 

When  called  suddenly  to  address  an  audience, 
without  any  previous  preparation,  the  speaker, 
whilst  rising  slowly  to  his  feet,  must  select  his  sub- 
ject, and  determine  in  his  own  mind  the  object 
which  he  aims  to  effect.  These  prerequisites  will 
commonly  be  suggested  by  the  occasion,  and  hence 
will  demand  but  little  reflection.  At  the  same 
time,  he  must  fix  upon  a  topic  for  his  introduction, 
and  construct  his  first  sentence.  Whilst  delivering 
this  as  slowly  as  possible,  in  order  to  gain  time,  he 
must  forecast,  to  some  extent  at  least,  his  next  sen- 
tence. Thus  making  his  way  slowly  through  his 
introduction,  he  must  be  occupied  also  in  shaping 
his  proposition,  analyzing  his  subject,  and  arrang- 
ing by  co-ordination  and  subordination,  the  princi- 
pal heads,  and  secondary  topics  of  his  whole  dis- 
course ;  and  all  this,  with  strict  reference  to  the 
object  which  he  aims  to  accomplish.  If  he  succeed 
in  doing  this  by  the  time  he  comes  up  to  the  enun- 
ciation of  his  proposition,  he  may  feel  himself  com- 
paratively safe  for  a  good  speech.  During  the 
discussion,  whilst  delivering  each  sontence,  he  must 
construct  the  next,  and  so  with  the  successive  para- 
graphs.     At   the   same  time,   he   must  select  his 


118  The  Soueces  of  PovvEiu 

words,  and  must  keep  his  mind  running  .  n  ahead, 
correcting  defects  in  his  analysis,  perfecting  the 
arrangement  of  his  topics,  and  forecasting  his  per- 
oration. Simultaneously  he  must  be  more  or  less 
engaged  in  studying  the  audience,  and  in  effort? 
to  fix  their  attention,  and  enlist  their  sympathies. 
Now  to  carry  on  all  these  processes  at  one  and  the 
same  time,  even  if  there  were  nothing  else  to  do, 
would  seem  to  be  well-nigh  impossible.  Yet  such 
is  the  prodigious  activity  of  the  mind,  under  the 
stimulus  and  excitement  of  this  kind  of  speaking, 
that,  wherever  it  is  highly  successful,  they  are  all, 
and  many  more,  carried  on  as  sub-processes,  for 
the  most  part  unconsciously,  in  strict  subordination 
to  the  principal  or  leading  operations,  which  prop- 
erly belong  to  the  delivery  or  expression  of  the 
thoughts  and  sentiments. 

2.  The  difficulty  of  carrying  on  aU  these  sub-pro- 
cesses as  such  at  the  same  time,  necessitates  preparation 
beforehand,  tuherever  this  is  possible,  in  order  to  relieve 
the  mind. 

The  preceding  analysis  exhibits  the  toil  and 
labor  which  a  good  speaker,  in  strictly  impromptu 
discourse,  instinctively  undergoes  to  possess  him- 
self, as  much  as  possible,  with  the  knowledge  of 
what  he  is  to  say,  before  he  comes  actually  to  say 
it.  But  the  difficulty  of  carrying  on,  as  sub-pro- 
cesses, all  these  laborious  operations  of  invention, 
Arrangement  and  style,  and  many  others,  and  of 
suppressing  all  manifestation  of  them,  when  the 
whole  burden  of  them  is  thrown  upon  the  mind  at 


Mastery  of  the  Subject.  119 

once,  in  the  very  moment  of  delivery,  is  very  great. 
In  every  such  case,  their  strong  tendency  is  to  be- 
come predominant  in  the  consciousness  of  the 
speaker ;  to  overshadow  and  dwarf  all  those  opera- 
tions which  properly  belong  to  delivery ;  and  con- 
sequently to  manifest  or  express  themselves  in  all 
the  vices  which  enfeeble  and  cripple  elocution. 
None  but  the  most  practised  and  accomplished 
rhetoricians  and  speakers,  and  these  only  in  their 
happiest  moods  and  most  favorable  circumstances, 
are  able  perfectly  to  overcome  this  difficulty,  so  as 
to  speak,  on  the  spur  of  the  moment,  with  all  the 
power  of  which  they  are  capable. 

§  62.  Greater  or  less  preparation  is  required  according  to 
circumstances,  but  as  a  general  rule  it  should  embrace 
a  complete  analysis  of  the  discourse. 

The  extent  or  thoroughness  of  the  preparation 
required  for  extempore  speaking,  is  greater  or  less, 
according  as  the  mind  of  the  speaker  acts  with 
more  or  less  precision  and  rapidity.  Too  minute 
preparation  resolves  extempore  into  memoriter 
speaking,  and  instead  of  relieving  the  mind  from 
the  burden  of  sub-processes,  only  exchanges  one 
class  of  them  for  another.  The  principle  which 
will  enable  each  one  to  decide  this  point  for  him- 
self, turns  upon  the  question,  how  far  he  can  re- 
lieve himself  from  the  labors  of  invention  and  style, 
without  loading  his  memory.  As  a  general  rule, 
however,  the  speaker,  whenever  it  is  possible,  ought 
to  prepare  beforehand,  either  mentally,  or  with  the 
aid  of  the  pen,  a  complete  analysis  of  his  discc  urse 


120  The  Sources  of  Power. 

including  the  distinct  statement  of  his  proposition 
the  arrangement  by  co-ordination  of  the  general 
heads,  and  by  subordination  of  the  secondary  top- 
ics, together  with  a  general  statement  of  the  thought 
contained  in  each  paragraph.  Such  an  analysis, 
which  Rhetoric  teaches  us  to  prepare,  may  eithej 
be  carried  in  the  memory  without  loading  it,  or  it 
may  be  committed  to  paper,  and  referred  to  while 
speaking,  without  any  serious  disadvantage.  With 
a  fine  memory,  the  former  method  is  to  be  pre- 
ferred ;  with  a  poor  memory,  the  latter.  Thus  the 
speaker  will  be  fully  master  of  the  subject-matter, 
and  of  the  general  drift  and  arrangement  of  his 
discourse  beforehand.  The  detailed  elaboratioi 
of  the  thoughts,  the  construction  of  the  sentences 
in  advance,  and  the  selection  of  the  words,  should 
be  left  to  the  inspiration  of  delivery ;  which,  after 
some  facility  has  been  gained  by  practice,  will  en- 
able him  to  carry  on  these  operations  strictly  as 
sub-processes,  unconsciously,  and  hence  to  suppress 
all  their  manifestations. 

§  63.  Such  a  mastery  of  the  subject  and  discourse  beforehand, 
relieves  the  mind  from  the  most  burdensome  of  the  sub- 
processes,  and  from  anxiety,  and  enables  the  speaker  to 
employ  his  faculties  in  the  proper  work  of  delivery. 

1.  It  relieves  ike  mind  from  th,  most  burdensome  of 
the  processes  of  invention  and  arrangement 

These  laborious  intellectual  operations,  not  being 
thrown  upon  the  mind  at  the  moment  of  speaking, 
cannot  of  course  express  themselves  in  the  delivery , 
which  is   thus  purged  at  once  from  all  its  worst 


MASTERY  OF  THE  SUBJEUT.  121 

faults,  and  most  easily  besetting  sins.  The  speaker 
is  thus  left  free  to  throw  all  his  faculties  and  powers 
iuto  those  forms  of  activity  which  properly  belong 
to  the  expression  of  thought,  and  the  expression  of 
ffhich  constitutes  good  delivery  (§22). 

2.  It  relieves  the  mind  from  tlie  paralyzing  effects  of 
anxiety  and  dread  of  failure. 

Being  assured  of  his  mastery  of  the  subject,  and, 
in  substance,  of  what  he  wishes  to  say,  the  speaker 
is  of  course  relieved  from  all  distressing  anxiety 
upon  that  score,  and  is  enabled  to  avail  himself  of 
all  the  advantages  which  flow  from  a  rational  con- 
fidence (§28).  Otherwise  this  anxiety  may,  in 
this  method  of  speaking,  easily  amount  to  a  para- 
lyzing dread,  and  thus  prove  the  most  certain  cause 
of  entire  failure.  For  such  dread  renders  the 
speaker  insensible  to  the  power  of  the  thoughts  he 
wishes  to  express,  and  of  the  emotions  which  he 
would  excite ;  it  draws  off  all  his  faculties  from  the 
work  of  speaking  directly  to  the  audience;  and  it 
may  even  frustrate  his  power  of  invention.  Un- 
der its  influence  he  will  be  conscious  of  hardly 
anything  but  a  desperate  effort  to  find  out  what 
to  say,  and  of  paralyzing  fear  lest  he  should  fail 
even  in  that.  His  delivery  will  consist  of  a  painful 
expression  of  this  and  other  such  feelings,  with  all 
the  vices  of  elocution  therein  implied.  Even  when 
the  case  may  not  be  so  bad  as  this,  it  will  always 
approach  it  in  the  degree  in  which  the  processes  oi 
invention,  and  the  dread  of  failure,  predominate  in 


122  The  Sources  or  Power. 

the    consciousness    over    those  mental  operation! 
which  properly  belong  to  expression. 

)  64.  Such  mastery  of  the  subject  and  discourse  enables  th« 
speaker  to  manage  his  time,  pauses,  pitch,  transitions 
and  force,  in  adaptation  to  his  thoughts  and  sentiments, 
and  to  forecast  the  structure  of  Ids  sentences. 

1.  The  rigid  management  of  these  elements  of  expres* 
sion  is  one  of  the  chief  excellences  of  speaking. 

The  great  power  of  elocution  consists  in  the  right 
management  of  these  pauses,  and  transitions  from 
one  general  or  subordinate  head  to  another  ;  and  in 
the  delivery  of  the  several  parts  more  or  less  rap- 
idly, and  with  greater  or  less  force  or  stress  of 
voice,  with  corresponding  variations  of  pitch,  accord- 
ing to  the  relative  importance  of  each,  and  to  the 
requirements  of  the  ever-varying  sentiment.  All 
this  depends  obviously  upon  carrying  in  the  mind 
at  least  some  general  knowledge  of  the  drift  and 
arrangement  of  the  discourse,  and  of  the  character 
of  the  sentiments  to  be  expressed. 

2.  The  ivant  of  this  mastery  of  the  subject  occasions 
tJw  following  damaging  faults. 

Without  such  knowledge  of  the  general  character 
of  the  discourse,  the  speaker  is  always  liable  to 
make  his  pauses  too  long  between  sentiments 
closely  related,  and  too  short  between  those  more 
remotely  separated ;  also,  to  exert  his  voice  unduly 
on  a  subordinate  passage,  and  hence  to  fail  in 
force  and  animation  where  these  are  most  required 
Not  knowing  beforehand  where  his  special  points 


Mastery  of  the  Subject.  123 

and  telling  passages  are  to  come,  he  finds  it  almost 
impossible  to  deliver  them  with  that  due  mental  refer- 
ence to  their  relative  importance,  and  with  that  sig- 
nificant emphasis,  which  is  no  less  essential  to  their 
proper  effect,  than  the  making  of  such  points  is  to 
rhetorical  power.  The  common  effect  of  this,  es- 
pecially when  the  speaker  is  at  no  loss  for  words, 
is  that  he  runs  into  a  monotonous  rant,  rushing  on 
from  one  topic,  or  sentiment,  or  paragraph,  to 
another,  without  any  of  those  significant  pauses,  and 
returns  to  the  key-note,  or  middle  pitch  of  the 
voice,  and  to  the  moderate  or  normal  movement, 
or  degree  of  rapidity,  which  are  indispensable  to 
mark  the  close  of  one  topic  or  paragraph,  and  the 
commencement  of  another,  and  to  give  effect  to  the 
transitions  of  the  thought. 

3.  Such  faults  have  the  effect  of  a  pointless  discourse. 
These  vices  of  elocution  are  extremely  common. 

and  no  less  fatal.  For  where  the  distinction  of 
ideas  and  sentiments  is  thus  lost  in  one  monotonous 
stream  of  sound,  the  effect  is  similar  to  that  which 
is  produced  in  rhetoric  by  a  discourse  without 
points ;  that  is,  in  which  there  is  no  distinction  of 
general  or  subordinate  heads,  or  topics,  or  para- 
graphs. In  such  speaking  nothing  stands  out  from 
the  dead  level ;  all  is  "  flat,"  and  soon  becomes  in- 
tolerably  "  stale  and  unprofitable  "  to  the  audience. 

4.  Such  mastery  of  the  subject  enables  the  speaker  to 
forecast  tJie  structure  of  his  sentences,  with  respect  to 
d&irness,  emphasis,  and  other -dements  of  expression, 

(1.)  Forecasting   the   sentence  is  a  sub-process, 


124  The  Soubces  of  Power. 

more  01  less  essential  to  the  principal  elements  ol 
expression.  This  forecasting  of  the  structure  of  the 
sentence  is  properly  a  sub-process ,  but  one  which  can 
hardly  be  carried  on  as  such  in  extempore  discourse, 
when  the  burden  of  all  the  operations  which  enter 
into  it,  is  thrown  upon  the  mind  at  the  same  time. 
Preparation  beforehand  is  indispensable  to  the  best 
success  in  it.  Extempore  speakers  of  the  greatest 
power  are  sometimes  wonderfully  perfect  in  it. 
so  that,  whilst  delivering  one  sentence,  they  are  en- 
abled to  elaborate  the  next,  in  all  its  details.  Oth- 
ers are  less  perfect ;  but  probably  it  goes  on  in  the 
minds  of  all,  to  a  greater  degree  than  we  are  com- 
monly aware.  Something  of  it  is  certainly  indis- 
pensable to  anything  like  a  sustained  melody  of 
speech,  to  right  emphasis,  and  to  almost  all  the 
other  elements  of  expression. 

(2.)  The  want  of  it  renders  the  speaking  confused, 
and  occasions  false  emphasis  and  intonation.  For 
when  the  speaker  has  no  conception  beforehand 
of  the  structure  of  the  sentence  he  is  about  to 
deliver,  he  knows  not  with  what  pitch,  tones,  or 
inflections  to  commence  it,  or  to  proceed  with  it,  or 
to  close  it ;  and  he  has  nothing  to  guide  him  in 
withholding  or  placing  his  emphasis.  He  can  hard- 
ly fail,  therefore,  to  deliver  his  sentences  in  a  per- 
plexed and  unmelodious  manner,  and  to  beat  the 
air  with  uncertain  and  unmeaning  sounds.  When 
the  words  upon  which  the  emphasis  ought  to  fall, 
Are  not  anticipated  by  the  speaker,  it  is  impossible 
to  deliver  them  with  their  due  effect. 


Mastery  of  the  Subject.  125 

(3 )  A  good  speaker  always  foresees  his  ^mphatio 
words.  As  the  accomplished  rider,  in  order  to  obtair 
a  better  view  of  the  wall  or  ditch  before  him,  raises 
himself  in  his  stirrups,  then  settles  himself  again  in 
his  saddle,  reins  in  his  horse,  gathers  the  animal's 
hind  legs  well  under  his  body,  and  at  the  precise 
moment  lifts  his  head  with  the  bridle,  applies  the 
wnip  or  spur,  and  launches  himself  over  the  obsta- 
cle, amidst  the  cheers  of  his  more  timid  companions 
— so  the  accomplished  speaker  looks  ahead  for  his 
emphatic  words,  and,  as  he  approaches  them,  draws 
in  his  breath,  and  gathers  up  all  his  forces,  and, 
at  the  precise  moment,  flings  himself  upon  them, 
with  all  the  impulse  gained  from  the  preceding 
restraint.  A  single  word,  spoken  with  such  em- 
phasis, will  sometimes  thrill  a  whole  assembly. 
But  nothing  of  all  this  is  possible,  of  course,  when 
the  structure  of  the  sentence  is  not  foreseen,  and 
the  emphatic  words  cannot  be  anticipated. 

§  65.  Extempore  speaking  is  more  fayorable  than  either  of 
the  other  methods,  to  animation  or  vivacity,  to  the  exer- 
cise of  the  sensibilities,  to  attention  and  sympathy,  and 
to  the  consciousness  of  speaking  directly  to  the  audience. 

It  would  seem  that  the  vulgar  prejudice,  as  it  has 
been  regarded,  against  reading  sermons,  and  in 
favor  of  extempore  preaching,  is  not  altogether 
a  prejudice,  but  is  founded  on  sound  elocution- 
ary reasons.  For  there  can  be  little  doubt  that, 
with  such  preparation  as  has  been  indicated,  extem- 
pore speaking  is  more  favorable  and  conducive  to 
good  elocution,  or  power  in  delivery,  than  speaking 


126  The  Sources  of  Power. 

either  from  manuscript  or  from  memory.  For  a! 
though  the  sub-processes,  in  this  method,  seem  tc 
be  more  numerous  and  difficult  than  in  either  oi 
the  others,  yet  they  are  found  by  experience  to  be 
more  manageable,  and  less  damaging.  The  fol- 
lowing are  some  of  the  particulars  in  which  it  is 
more  favorable  to  good  delivery  than  either  of  the 
other  methods. 

1.  It  is  more  conducive  to  animation  or  vivacity. 

It  has  been  well  observed  that  "  the  least  ani- 
mated mode  of  delivering  thought  to  others,  is 
reading  from  a  book  the  composition  of  another ; 
the  next  in  order  is  reading  one's  own  composition ; 
the  next  is  delivering  one's  own  composition  from 
memory ;  and  the  most  animated  of  all  is  the  utter- 
ing of  one's  own  thoughts,  as  they  rise  fresh  in  his 
mind."* 

2.  To  the  exercise  of  the  sensibilities. 

When  a  thought  comes  fresh  into  the  mind,  and 
chooses,  as  it  were,  at  the  moment,  its  own  words, 
the  meaning  of  these  words  is  more  present  to  the 
mind  of  the  speaker,  and  their  power  is  more  felt, 
than  when  he  recurs  to  them  in  the  memory,  or 
upon  manuscript.  In  the  same  way,  all  the  emo- 
tions in  extempore  speaking  are  more  fresh  and 
genial  than  when  they  are  reproduced  in  the  other 
methods.  Hence  "  there  is  more  natural  warmth 
in  the  declamation,  more  earnestness  in  the  address, 

*  Hints  on  Extemporaneous  Preaching,  by  Henry  Ware,  Jr.,  Professor  of  Pul- 
pit ElcKpence  and  P-t-^oral  Care,  iu  Harvard  University  ;  an  admirable  littlr 
work,  now  out  ofprv/  <.  ->it  which  ought  to  be  republished. 


Mastek y  of  the  Subject.  127 

greater  animation  in  the  manner,  more  of  the  light 
ing  up  of  the  soul  in  the  countenance,  and  whole 
mien,  more  freedom  and  meaning  in  the  gesture. 
The  eye  speaks,  and  the  fingers  speak,  and  when 
the  orator  is  so  excited  as  to  forget  everything  but 
the  matter  on  which  his  mind  and  feelings  are 
acting,  the  whole  body  is  affected,  and  helps  to 
propagate  his  emotions  to  the  audience." 

3.  To  the  attention  and  sympathy  of  the  audience. 
When    the    audience  have    the    opportunity  of 

following  the  thoughts  of  the  speaker,  as  they 
germinate  and  spring  up  in  his  mind,  and  grow,  and 
put  forth  their  branches,  leaves,  blossoms  and  fruit, 
they  feel  an  interest  in  the  whole  process,which  they 
cannot  feel  when  they  know  that  everything  has 
been  "  cut  and  dried  "  beforehand.  And  this  interest 
of  the  audience  reacts,  as  we  have  seen,  by  sympa- 
thy, to  quicken  all  his  faculties,  and  clothe  his 
delivery  with  power. 

4.  To  the  conciousness  of  speaking   directly  to  tJie 
audience. 

When  the  thoughts  of  the  speaker  thus  originate, 
and  take  on  their  peculiar  forms,  in  presence  of  the 
audience,  they  naturally  adapt  themselves  to  the 
varying  moods  and  states  of  mind,  and  to  the  dif- 
ferent degrees  of  excitement,  manifested  by  the 
audience,  much  more  perfectly  than  is  possible  whei 
they  have  all  been  written  out  beforehand.  Hence 
the  style  in  extempore  speaking  is  commonly  lest 
abstract  and  involved,  more  simple  and  direct,  than 
in    other    kinds.     This    directness    of    style    uat- 


128  The  Soukces  of  Power. 

urally  prompts  to  directness  of  speaking.  The 
speaker  more  easily  maintains  liimself  in  the  con- 
ciousness  of  speaking  directly  to  the  people  before 
him,  and  secures  all  the  benefits  which  flow  iroiu 
this  source  of  power  in  delivery. 


CHAPTEE  Vin. 

FACILITY   OF  REMEMBERING  IN  MEMORITER  DEUVEBI. 

(i  66.  A  good  memory  is  a  source  of  power  in  all  the  methods 
of  delivery,  but  most  of  all  in  memoriter  speaking. 

Facility  of  recalling  what  has  been  committed 
to  memory,  is  necessary  to  the  greatest  power  of 
elocution,  in  all  the  different  methods  of  delivery. 
[n  the  words  of  Quintilian,  "  it  is  not  without  rea- 
son that  the  memory  has  been  called,  the  treasury 
of  eloquence."  But  its  most  important  relations, 
of  course,  are  those  which  it  bears  to  memoriter 
speaking,  in  which  the  whole  discourse  is  delivered 
in  the  very  words  in  which  it  has  been  prepared  be- 
forehand. In  this  method  of  delivery,  it  is  indis- 
pensable that  the  discourse  be  so  perfectly  com- 
mitted that  it  can  be  remembered  without  con- 
scious effort ;  that  every  word  shall  seem  to  come 
of  itself,  in  its  proper  place  and  connection.  This 
might  seem  to  be  sufficiently  evident,  if  the  want 
of  due  attention  to  it  were  not  extremely  prevalent, 
and  the  cause  of  failure  to  many.  It  is  necessary, 
therefore,  to  explain  the  influence  of  this  source  of 
power  by  applying  again,  in  a  manner  precisely 
similar  to  that  already  employed  in  the  case  of  ex- 
tempore speaking,  the  fundamental  principles  of 
this  art,  as  laid  down  in  §§  21—23. 


130       The  Soueces  of  Poweb. 

§  67.  The  sab-process  of  remembering  and  tke  fear  of  for- 
getting, in  this  method  of  speaking,  when  they  predomi- 
nate, render  other  sources  of  power  unavailable,  and  the 
speaking  consists  of  the  expression  of  these  mental  operas 
tions. 

1.  The  predominance  of  these  sub-processes  is  more 
damaging  to  elocution  than  those  of  invention  and  style. 

In  this  method  of  speaking  the  sub-processes, 
properly  so  called,  are  simply  those  of  remember- 
ing what  has  been  committed  to  memory.  But  in 
addition  to  these,  which  are  extremely  damaging 
when  they  become  predominant  in  the  conscious- 
ness of  the  speaker,  from  the  fact  that  his  speech 
has  been  imperfectly  committed,  he  has  to  deal 
with  the  far  more  deleterious  influence  of  anxiety, 
and  dread  of  forgetting  what  he  wishes  to  say. 
These  influences  are  similar  in  their  effects  upon 
the  mental  state  of  the  speaker,  and  upon  his  elo- 
cution, to  those  of  invention  and  style,  and  of  the 
dread  of  failure  in  finding  out  what  to  say,  in  ex- 
tempore speaking.  Commonly,  however,  they  are 
much  more  enfeebling  to  the  expression,  for  the 
reason  that  these  sub-processes  are  more  incompat- 
ible with  the  proper  work  of  delivery. 

2.  The  predominance  of  these  sub-processes  in  the 
consciousness  of  the  speaker,  renders  other  sources  of 
power  unavailable. 

Evidently  when  the  speech  has  been  imperfectly 
committed,  or  is  remembered  with  difficulty,  all  the 
faculties  of  the  speaker   must  be  withdrawn  fron? 
the   proper  work  of  delivery,  that  of  speaking  di 
rectly  to  the  audience,  and  concentrated  upon  the 


Facility  of  Remembering.  131 

mental  toil  of  remembering  what  he  has  to  say. 
Consequently  he  loses  sight  of  the  audience,  and 
of  the  object  which  he  aims  to  accomplish  in  their 
minds,  and  the  desire  to  accomplish  it  ceases  to  be 
operative.  He  may  have  the  best  speech  in  the 
world,  the  greatest  power  of  thought,  and  the  most 
moving  sentiments;  but  he  cannot  think  of  the 
matter  of  his  discourse,  because  he  is  wholly  occu- 
pied with  the  forms  and  sounds  of  the  words  which 
he  is  mentally  struggling  to  lay  hold  of,  and  which 
threaten  every  moment  to  escape  from  his  grasp. 
In  tins  mental  state  the  appropriate  exercise  of  the 
sensibilities  is  paralyzed.  He  cannot  feel  the  pow- 
er of  his  thoughts,  nor  of  the  emotions  which  he 
wishes  to  communicate  and  excite  in  the  audience, 
uor  make  the  least  effort  to  engage  their  attention 
or  sympathy.  He  can  exert  no  intellectual  faculty 
but  the  memory.  He  can  feel  nothing  but  a  horror 
of  forgetting  his  speech,  which  enfeebles  the  mem- 
ory itself,  and  often  ensures  the  result  which  is 
most  feared ; — by  overstrained  effort  to  pump  up 
the  words  into  his  mind,  the  pump  itself  often 
breaks  down. 

3.  It  renders  tJie  speaking  the  expression  oj  me  men- 
ial operations  of  remembering,  and  of  the  dread  of  for~ 
getting. 

When  the  speech  is  imperfectly  committed,  or 
remembered  with  difficulty,  these  are  the  mentaJ 
states  which  predominate  in  the  consciousness  of 
the  speaker,  and  which  his  speaking  really  ex- 
presses, with  all  the  vices  of  elocution  which  this 
implies.      The    people    before  the   speaker,  being 


132  The  Sources  of  Poweb. 

pushed  out  of  miud,  are  pushed  out  of  sight.     Hik 
eje  takes  no  note  of  theii  countenances,  and  can- 
not be  employed  in  fixing  their  attention.     It  wan 
ders  around  the  room,  or  up  to  the  ceiling,  as  ii 
looking  for  something  that  it  cannot  find,  or  it  i« 
closed.     In   any  case  it  loses   all  power  of   appro- 
priate expression.     Often  it  seems  to  be  turned  in- 
wards, as  if  looking  into  the  back  of  the  head,  in 
6earch  of  the  words  which  the  speaker  is  laboring 
to  recall     In  this  case  the   countenance  becomes 
so  ludicrous  that  it  makes  one  think  of  the  words 
of  a  great  comic  writer,  "Did  you   ever  pick  the 
lock  of  a  cupboard  to  steal  a  bottle  of  wine?  and 
did  you  ever  think  of  the  expression  of  your  face 
while  you   were  doing  it?"     In    like   manner,  all 
the  motions  of  the  hands,  arms  and  body,  all  the 
tones,  inflections,  articulation   and   emphasis,  take 
on  their  peculiar  forms,  not  from  the  mental  opera- 
tions which  properly  belong  to  speaking,  but  from 
these  sub-processes ;  which  ought  not  to   manifest 
themselves  at  all,  but  which,  being  now  the  lead- 
ing operations  of  the  speaker's  mind,  it  is  impossi- 
ble to  suppress.     All  that  he  succeeds  in  expressing, 
and  impressing  upon  the  audience,  is  the   mental 
toil  of  remembering  words  without  meaning  to  him- 
self, consequently  without  meaning  to  those  who 
Lear  >>im  ;  together  with  his  torment  of  anxiety,  and 
dread  of  forgetting  what  he  wishes  to  say,  and  of 
breaking  down  in  his  discourse.     The  vices  of  elo- 
cution which  are  inseparable  from  this  cause,  it  is 
^ot  possible  to  enumerate,  much  less  to  describe 


Facility  of  Remembering.  133 

They  are  nearly  all  that  are  possible,  and  all  in 
their  most  aggravated  forms. 

4.  It  renders  the  training  and  practice  of  the  art 
often  ineffectual  and  injurious. 

Among  the  worst  consequences  of  the  predomi- 
nance of  these  mental  states,  is  that  it  renders  a 
great  deal  of  the  training  and  practice  of  this  art, 
not  only  ineffectual  for  good,  but  often  productive 
of  great  harm.  For  where  the  teacher  allows  im 
perfectly  committed  exercises  to  be  performed,  all 
these  vices  of  elocution  are  cultivated,  instead  of 
being  corrected;  and  the  faculty  of  speaking  is 
dwarfed,  instead  of  being  developed.  Prompting 
therefore  ought  never  to  be  allowed.  In  all  cases 
where  the  speaker  cannot  do  without  it,  it  would  be 
far  better  not  to  speak  at  all.  For  this  reason  such 
exercises  should  be  very  short.  On  many  other  ac- 
counts also,  a  short  speech  is  much  better  for  train- 
ing purposes  than  a  long  one. 

|  68.  The  influence  of  this  source  of  power  upon  the  speaker 
and  upon  his  delivery,  is  to  render  the  other  sources  oi 
power  available,  and  to  render  the  speaking  expressive  of 
those  mental  states  which  properly  belong  to  delivery. 

1.  It  renders  the  other  sources  of  power  available. 

By  perfect  facility  of  remembering,  the  speaker  is 
relieved  from  all  conscious  effort  of  memory,  and 
from  the  dread  of  forgetting  what  he  wishes  to 
say ;  and  in  this  method  of  speaking,  the  processes 
of  invention  and  style  have  no  place.  Consequently 
he  is  left  free  to  throw  all  his  faculties  into  the 


13  k  The  Sources  of  Poweii. 

proper  work  of  delivery.  He  can  grasp  in  his  inim't 
the  object  which  he  aims  to  accomplish,  and  fee 
the  desire  of  accomplishing  it ;  he  can  hold  himseii 
in  the  mental  state  of  speaking  directly  to  the  audi- 
ence, with  this  object  in  view ;  and  he  can  be  moved 
himseii  with  the  power  of  the  thoughts  which  he 
has  to  express,  and  of  the  emotions  and  passions 
which  he  wishes  to  excite.  The  natural  flow  of 
his  sensibilities  is  unobstructed,  and  his  mind  is 
open  to  receive  the  whole  volume  of  the  sympa- 
thies of  the  audience,  as  it  rolls  in  upon  him.  These, 
and  in  fact  all  other  sources  of  power  which  are  not 
inconsistent  with  this  method  of  speaking,  are  thus 
rendered  fully  available. 

2.  It  renders  the  speaking  expressive  of  tJiose  mental 
states  which  properly  belong  to  delivery. 

The  mental  operations  of  remembering,  being 
now  carried  on  strictly  as  sub-processes,  and  so 
confidently  as  to  give  relief  from  anxiety  and  fear, 
have  no  tendency  to  manifest  themselves  in  the 
delivery,  which  thus  purges  itself  from  the  vices 
which  they  otherwise  produce  :  whilst  those  opera- 
tions which  properly  belong  to  the  expression  of 
thought,  being  predominant  in  the  consciousness  c  f 
the  speaker,  naturally  express  themselves ;  the 
speaking  consists  in  the  expression  of  them,  and 
thus  clothes  itself  with  power.  The  speaker,  having 
no  occasion  to  withdraw  his  eye  from  the  audience, 
even  for  a  moment,  can  employ  all  its  mysterious 
power  to  fix  their  attention,  and  to  engage  then 
sympathy.      .AH    his    gestures,    tones,   inflections 


Facility  os  BE-MEMBEiiiNG.  135 

articulation  and  emphasis,  all  the  changes  of  force, 
pitch  and  time,  in  a  word,  all  the  elements  of  ex- 
pression are  now  formed  and  governed  bj  the 
sentiments  which  he  has  to  express.  Having  the 
whole  speech  in  his  mind,  he  knows  the  relations 
of  the  several  heads,  topics  and  paragraphs  to 
each  other,  and  is  thus  enabled  to  graduate  the 
degrees  of  force,  pitch  and  rapidity  of  movement 
appropriately  to  every  part ;  to  return  to  the  key- 
note and  initial  movement,  as  often  as  may  be  re- 
quired, and  to  manage  his  pauses  and  transitions 
so  as  to  produce  their  true  and  proper  effect.  And 
foreseeing  the  structure  of  every  sentence,  when 
he  begins  to  speak  it,  he  finds  it  easy  to  distribute 
his  emphasis  aright,  and  to  deliver  it  in  the  most 
effective  manner. 


§  09.  Memoriter  speaking  was  the  favorite  method  of  the 
aneient  orators,  but,  with  a  common  memory,  it  is  not  so 
favorable  to  power  in  delivery  as  extempore  discourse. 

Apart  from  experience,  it  would  seem  that,  with 
due  attention  to  its  proper  source  of  power,  this 
method  of  speaking  ought  to  be  the  most  favorable 
of  ail  to  a  good  delivery.  It  is  certain  that  it  was 
the  favorite  method  of  the  ancient  orators ;  and  it 
seems  to  have  contributed  much  to  their  success  in 
that  forensic  and  deliberative  eloquence,  in  which 
they  have  never  been  surpassed.  But  experience 
does  not  prove  that  this  is  the  best  method,  but 
rather,  except  where  the  memory  is  naturally  very 
superior,  or  has  been  very  highly  cultivated,  that 


136  The  Sources  of  Power. 

the  sub-processes  in  this  method  are  more  unman 
ageable,  and  more  incompatible  with  expression 
than  those  of  extempore  speaking.  Notwithstand- 
ing, its  advantages  are  such  that  whoever  aspires  tc 
become  an  orator,  will  do  well  to  make  full  proof 
of  his  ability  to  follow  it.  If  he  should  find  his 
talents  ill-adapted  to  extempore  discourse,  and  can, 
by  the  most  laborious  culture,  so  develop  and 
strengthen  his  memory  that  it  will  sustain  him  in 
this  method,  he  will  surely  reap  an  abundant  re- 
ward. It  will  be  more  likely  to  conduct  such  a  man 
to  excellence  than  any  other.  But  if,  after  full 
proof  of  his  memory,  he  should  still  find  it  inade- 
quate, he  can  then  apply  himself  to  speaking  from 
manuscript,  which  yet  remains  to  be  considered. 

§  70.  The  memory  is  capable  of  great  development  by  exer- 
cise, of  which  we  have  many  striking  examples. 

There  is  no  faculty  of  the  mind  more  susceptible 
of  cultivation  and  improvement,  and  none  which  suf- 
fers more  from  neglect,  than  the  memory.  The  an- 
cient orators  cultivated  it  to  such  a  degree  of  excel- 
lence as  is  unknown,  and  almost  inconceivable  to  us. 
Mithridates,  king  of  Pontus,  Who  held  the  Eoman 
conquests  in  check  for  thirty  years,  in  the  first  cen- 
tury before  the  Christian  era,  could  talk  with  the 
people  of  twenty-seven  nations  under  his  govern- 
ment, in  all  their  different  languages.  Quintilian 
gives  us  a  number  of  instances  of  prodigious  mem- 
ory. Cicero  informs  us  that  Crassus,  to  whom  he 
gives  the  palm  of  Eoman  eloquence,  would  some- 


Facility  of  Eemembering.  137 

timet  dictate  as  many  as  six  different  parts  of  the 
same  argument  to  six  clerks  at  the  same  time,  and 
then  go  immediately  into  court,  and  deliver  the 
whole,  without  once  looking  at  his  papers.  In  the 
attainment  of  such  results,  they  seem  to  have  relied 
to  some  extent  upon  systems  of  artificial  mnemonics, 
based  upon  the  principle  of  the  association  of  ideas, 
which,  however,  were  not  much  approved  of  by  some 
of  their  best  writers,  and  which  do  not  seem  to  be 
well  adapted  to  our  mental  habits.  No  doubt,  the 
most  effectual  means  of  cultivating  this  faculty,  is  to 
exercise  it  systematically  in  committing  to  memory 
the  finest  passages  of  eloquence.  In  committing 
our  own  discourses,  we  are  greatly  aided  by  such  an 
analysis  and  arrangement  as  exhibits  the  closest 
logical  connection  between  the  thoughts. 


CHAPTER  IX. 

FAMILIARITY  WITH  THE  MANUSOBITT. 

&  71.  The  importance  of  this  source  of  power  arises  from  th« 
peculiar  character  of  the  sub-processes  in  speaking  from 
manuscript. 

This  source  of  power  refers  exclusively  to  the 
method  of  speaking  in  which  the  speech  is  all  writ- 
ten out  beforehand,  and  read  or  spoken  from  the 
manuscript,  either  held  in  the  hand,  or  lying  unde? 
the  eye  of  the  speaker.  Its  importance  arises  fron 
the  fact  that  this  method  of  speaking  is  one  in  such 
common  use,  especially  among  clergymen ;  and  from 
the  peculiar  character  and  damaging  effect  of  the 
sub-processes,  whenever  these  become  predominant 
in  the  consciousness  of  the  speaker.  In  order  to 
sxhibit  this  latter  point  it  will  be  necessary  to 
make  a  third  application  of  the  fundamental  prin- 
ciples laid  down  in  §§  21 — 23,  precisely  similar  to 
those  which  have  been  made  in  extempore  and 
memoriter  speaking. 

}  72.  The  sub-processes  in  reading,  and  in  speaking  from 
manuscript,  are  the  reverse  of  expression. 

Reading,  and  speaking  from  manuscript,  are  so 
Dearly  allied,  and  the  sub-processes  in  the  two  cases 


Familiarity  with  the  Manuscript.        139 

differ  so  little,  and  the  liglit  they  throw  upon  each 
other  is  so  important,  that  they  require  to  be  treated 
together.  For  in  both  the  sub-processes  are  those 
of  taking  in  the  sense  of  the  manuscript,  or  printed 
page,  through  the  eye ;  and  these  processes  are  the 
reverse  of  those  which  belong  to  the  giving  out  of 
the  sense  by  the  voice,  and  to  the  impressing  of  the 
thought  and  sentiment  upon  other  minds.  The 
mental  operations  of  giving  out,  and  of  taking  in 
the  sense,  are  in  the  highest  degree  incompatible 
with  each  other.  Certainly  they  cannot  both  go  on 
together  as  leading  states  of  the  same  mind ;  one  or 
the  other  must  fall  into  th©  rank  of  a  sub-process. 
At  least  three  of  those  leading  states  or  mental 
operations,  the  expression  of  which  constitutes  good 
delivery  (§  22),  namely,  (a)  the  consciousness  of 
speaking  directly  to  the  audience,  (b)  with  the  desire 
of  accomplishing  a  given  object,  (c)  which  object  is 
held  firmly  in  the  grasp  of  the  mind,  are  diametric- 
ally opposed  to  the  mental  operations  of  taking  in  the 
sense  through  the  eye.  This  opposition  and  incom- 
patibility between  these  two  classes  of  mental  oper- 
ations, both  of  which  have  to  be  carried  on  simul- 
taneously, exhibits  the  great  difficulty  to  be  over- 
come in  speaking  from  manuscript. 

£  7o.  Reading:,  in  which  the  sub-processes  exercise  a  legiti- 
mate influence,  is  a  more  subdued,  and  a  more  difficult 
form  of  elocution  than  speaking. 

1.  The  distinction  between  reading  and  speaking  has 
never  been  precisely  determined. 


140  The  Sources  of  Power 

Gothe,  somewhere  in  Wilhelm  Meister,  has  re- 
marked that '  the  limits  between  reading  and  speak- 
ing are  very  narrow,'  but  nowhere,  it  is  believed, 
lias  he  attempted  to  define  them.  In  practice  th<? 
two  are  often  confounded.  Speaking  from  manu- 
script commonly  takes  the  form  of  a  poor  kind  of 
reading,  whilst  reading  not  unfrequently  merges  in 
a  wretched  attempt  at  declamation.  But  the  prin- 
ciples maintained  in  these  Sources  of  Power,  with 
respect  to  leading  mental  operations  and  sub-pro- 
cesses, will  enable  us  to  determine  this  point,  and 
to  understand  precisely  wherein  these  two  forms  of 
elocution  differ  from  each  other. 

2.  Beading  is  a  more  subdued  and  quiet,  speaking  a 
more  full  and  demonstrative  form  of  elocution. 

This  difference  will  be  evident  at  once  to  any  one 
who  will  compare  the  signs  which  each  employs.  For 
in  reading,  the  tones  are  naturally  less  full  and  strong, 
the  range  of  pitch  and  inflection  is  less  extended, 
there  is  less  variation  in  time  and  force,  the  articula- 
tion is  less  hard  and  sharp,  the  emphasis  is  less  de- 
cided, and  the  gesture,  if  any  be  allowed,  is  less 
marked  and  striking,  than  in  speaking.  A  reader 
in  whom  this  quiet  and  subdued  manner  is  wanting, 
who  runs  his  reading  into  declamation,  exhibits  a 
want  of  taste,  culture  and  refinement;  whilst  a 
speaker  who  simply  reads  his  discourse,  can  exert 
but  little  power  to  impress  his  sentiments,  or  to  in 
flame  the  audience  with  the  emotions  and  passions 
which  his  words  may  be  intended  to  express. 


Familiarity  with  the  Manuscript        141 

3.  The  reason  of  this  difference  is  thai  in  reading^  the 
sub~2>roGesses  legitimately  exercise  a  subduing  influence^ 
whilst  in  speaking,  tliey  reqidre  to  be  wholly  suppressed. 

For  it  will  be  observed  that  in  reading,  we  deliver 
the  sentiments  professedly  as  taking  them  in  through 
the  eye  at  the  time,  as  gathering  and  reproducing 
them  from  the  written  or  printed  page  before  us  ;  but 
in  speaking,  we  deliver  them  as  immediately  our  own, 
as  welling  up  from  within  our  own  minds.  Conse- 
quently in  the  former  case,  the  elocution  is  legitimate- 
ly affected  and  modified  by  the  mental  operations  of 
taking  in  the  sense,  in  which  we  are  professedly  en- 
gaged;  whilst  in  the  latter,  no  such  influence  or 
effect  can  be  allowed.  Good  reading  requires  that 
these  operations  should  not  be  wholly  suppressed, 
but  should  exert  a  certain  modifying  influence  upon 
the  expression ;  whilst  it  is  essential  to  good  speak- 
ing that  they  should  exert  no  influence  upon  the  ex- 
pression, but  should  be  wholly  suppressed.  Now, 
as  we  have  seen,  these  mental  operations  of  taking 
in  the  sense  through  the  eye,  are  precisely  the  reverse 
of  those  which  belong  to  giving  it  out,  and  impress- 
ing it  upon  others;  consequently  the  influence  of 
these  reverse  mental  operations  legitimately  affects 
the  elocution  in  reading,  as  a  negative  quantity  af- 
fects a  positive  one ;  that  is,  it  reduces  it  from  a  more 
to  a  less  full  and  demonstrative  form  of  delivery.  It 
is  under  this  subduing  influence  that,  in  good  read- 
ing, the  tones  are  less  full,  the  inflections  less  ex- 
tended, the  articulation  less  sharp  and  hard,  the 
pitch,  force  and  time  less  varied,  the  emphasis  less 


112  The  Sources  of  Power. 

pronounced,  and  the  gesture  less  abundant,  than  ii 
good  speaking. 

4  Good  reading  is  a  more  difficult  form  of  elocu- 
tion tJian  good  speaking. 

We  should  anticipate  that  this  would  be  the  case 
from  the  nature  of  the  distinction  between  reading 
and  speaking ;  and  this  anticipation  is  confirmed  by 
all  experience  and  observation.  To  read  well  any 
passage  or  author  with  which  we  are  wholly  unac- 
quainted, is  confessedly  a  very  difficult  thing.  Hence 
we  find  many  good  speakers,  for  one  good  reader. 
The  reason  of  this  is  the  direct  opposition  and  incom- 
patibility between  the  mental  operations  of  taking 
in  the  sense,  and  those  of  giving  it  out,  at  the  same 
time.  For  although  the  former  in  reading  do  legit- 
imately affect  and  modify  the  elocution,  yet  even  in 
this  case,  if  they  become  predominant  in  the  con- 
sciousness of  the  reader,  so  as  to  overshadow  and  en- 
feeble the  latter,  the  elocution  is  necessarily  marred, 
or  spoiled.  The  tendency  to  this  is  obviated,  in 
some  degree,  by  the  great  familiarity  we  attain  with 
the  forms,  meanings  and  sounds  of  printed  words, 
and  by  the  wondrous  perspicuity  of  the  printed  page, 
from  which  we  are  enabled  to  take  in  the  sense,  as 
the  eye  passes  over  it,  with  but  little  conscious  atten- 
tion or  effort.  In  this  way,  the  leading  mental  ope- 
rations in  good  reading,  continue  to  be  those  of  giv- 
ing out,  rather  than  those  of  taking  in  the  sense.  A 
good  reader,  however,  never  undertakes  to  read  in 
public  a  passage  with  which  he  is  wholly  unac- 
quainted, except  from  necessity ;  nor  then  does  he 


Familiakity  with  the  MasuscbIpt.        143 

ever  expect  to  do  justice  to  himself,  or  liis  author. 
tie  always  tries  to  familiarize  his  miud  beforehand 
with  the  sentiments  and  words,  in  order  to  relieve 
himself  as  much  as  possible  from  the  operations  oi 
hiking  in  the  sense,  that  he  may  be  enabled  to  carry 
on  these  operations,  in  so  far  as  they  are  indispensa- 
ble, mostly  as  sub-processes,  whilst  his  faculties  are 
chiefly  employed  in  the  proper  work  of  expression. 

v  74.  The  degree  of  familiarity  with  the  manuscript  should 
be  such  as  to  enable  the  speaker  to  carry  on  all  the  oper- 
ations of  taking  in  the  sense  as  sub-processes. 

In  order  to  speak  well  from  manuscript,  it  in  indis- 
pensable that  the  mental  operations  of  taking  in  the 
sense  through  the  eye,  should  be  suppressed  alto- 
gether. Consequently  much  greater  familiarity  with 
the  manuscript  is  required  in  this  method  of  speak- 
ing, than  with  the  printed  page  or  manuscript  in 
reading.  In  fact  it  must  be  such  as  to  enable  the 
speaker  to  carry  on  all  these  operations  strictly  as 
sub-processes,  and  for  the  most  part  unconsciously. 
If  they  become  at  all  prominent  in  the  conscious- 
ness, they  cannot  fail  to  manifest  themselves  in  all  the 
vices  of  elocution,  to  which  this  method  of  spealdng 
is  liable.  Hence  the  speaker  should  never  fail  to 
make  himself  as  familiar  as  possible,  by  previous 
study,  with  the  matter  of  his  discourse.,  including  its 
structure,  drift  and  general  arrangement,  so  that  the 
relations  of  the  several  parts  to  each  other,  and  to 
the  whole,  may  be  carried  in  his  mind.  Also  the 
first  words  of  each  general  head,  topic,  paragraph 
and  sentence,  should  be  made  so  familiar  in  its  rela- 


144  The  Souiices  of  Poweb 

tions  to  what  follows,  as  to  suggest  its  subject,  ob- 
ject and  principal  thoughts.  By  a  single  uncon- 
scious glance  at  the  first  words  of  any  sentence,  the 
speaker  should  be  able  to  possess  himself  of  the 
whole  of  it,  as  nearly  as  possible  in  the  words  in 
which  it  is  written.  In  the  degree  in  which  the 
speaker  neglects  this  previous  study,  and  his  famil- 
iarity with  his  manuscript  falls  short  of  what  is  here 
required,  in  any  of  these  particulars,  will  his  deliv- 
ery be  enfeebled. 

$  75.  The  influence  of  such  familiarity  with  the  manuscript 
enables  the  speaker  to  suppress  the  sub-processes,  and  to 
avail  himself  of  all  the  other  sources  of  power. 

This  influence  is  similar  to  that  of  the  last  twe 
sources  of  power,  in  the  methods  of  speaking  tc 
which  they  respectively  apply. 

1.  It  enables  tJve  speaker  to  suppress  the  sub-processes. 

By  an  adequate  familiarity  with  the  manuscript, 
and  where  a  good  degree  of  facility  in  this  method 
of  speaking  has  been  acquired,  all  the  mental  opera- 
tions of  taking  in  the  sense  through  the  eye,  are  so 
reduced  that  they  can  be  carried  on  strictly  as  sub- 
processes,  of  which  the  speaker  is  no  more  conscious 
than  he  is  of  standing  on  his  feet,  or  changing  his  po- 
sition, or  of  the  motions  of  his  lungs  or  diaphragm 
He  does  not  know  when  he  turns  the  leaves  of  his 
manuscript,  nor  hardly  that  he  has  it  before  him. 
His  glances  at  it  are  so  momentary  that  they  scarce- 
ly make  a  deeper  impression  upon  his  mind  than  the 
uictation  of  his  eyelids.     He  is  as  unconscious  of  the 


Famttjarttv  with  the  Manuscript.        14:5 

use  lie  makes  of  it  as  the  skillful  writer  is  of  the  man- 
ner of  holding  his  pen,  or  the  accomplished  musician 
of  fingering  the  keys  of  his  instrument.  Hence  these 
mental  operations  are  all  suppressed ;  they  have  lit- 
tle or  no  tendency  to  express  themselves  in  mar- 
ring the  delivery. 

2.  It  enables  him  to  avail  himself  of  the  other  sources 
if  power. 

Being  fully  released  from  the  embarrassment  of 
these  sub-processes,  the  speaker  is  enabled  to  throw 
all  his  faculties  into  the  proper  work  of  delivery. 
There  is  nothing  to  hinder  him  from  entering,  in  the 
fullest  manner,  into  the  sentiments  he  has  to  express, 
nor  to  impede  the  flow  of  the  emotions  which  the 
discourse,  or  the  occasion,  or  the  audience  may  be 
adapted  to  inspire.  With  only  a  momentary  and 
unconscious  reference  to  the  manuscript,  his  eye  and 
countenance  are  sufficiently  free  to  exert  their  mys- 
terious powers  upon  the  audience,  and  to  secure 
their  attention  and  sympathy ;  whilst,  in  the  full  con- 
sciousness of  speaking  directly  to  them,  he  grasps 
them  with  his  mind,  and  holds  them  up  to  the  object 
which  he  aims  to  accomplish.  Thus  all  the  signs 
which  he  employs,  both  of  voice  and  gesture,  natu- 
rally take  on  their  true  forms,  and  the  speaking  is 
clothed  with  power. 

i  76.  The  neglect  of  this  source  of  power  renders  all  others 
unavailable,  and  renders  the  speaking  the  reverse  of 
true  expression. 

The  consequences  of  neglecting  this  source  of  pow- 
*r  are  similar,  in  most  respects,  to  those  which  have 


146  The  Sources  of  Power. 

been  already  exhibited,  in  the  two  preceding  chap 
ters ;  yet  in  one  particular,  at  least,  they  are  more 
damaging  to  elocution  than  any  others. 

1.  It  renders  oR  other  sources  of  poiuer  unavailable. 
For  where  the  previous  study  of  the  manuscript 

is  neglected,  the  mental  operations  of  taking  in  the 
sense  through  the  eye,  necessarily  become  predomi- 
nant in  the  consciousness  of  the  speaker ;  in  which 
case,  they  either  displace  from  the  mind  altogether, 
or  degrade  to  a  subordinate  character,  all  those  op- 
erations which  essentially  belong  to  the  giving  out, 
or  expression  of  thought,  and  to  impressing  it  upon 
other  minds.  Having  his  faculties  pre-occupied, 
after  a  principal  manner,  with  what  ought  to  be 
wholly  an  unconscious  sub-process,  the  speaker  is 
unable  to  employ  them  in  the  proper  work  of  deliv- 
ery. Thus  earnestness  in  speaking  directly  to  the 
audience,  for  the  accomplishment  of  his  object, 
together  with  all  the  power  which  this  gives  to  elo- 
cution, becomes  impossible.  The  speaker  cannot 
hold  before  his  mind  the  object  of  speaking,  nor  feel 
the  desire  to  accomplish  it,  nor  be  sensible  of  the 
power  of  the  thoughts  which  he  has  to  express  ;  nor 
is  his  mind  susceptible  of  sympathy  with  the  audi- 
ence, nor  indeed  of  any  other  emotion  which  gives 
power  to  delivery.  For  there  is  no  proper  exercise 
of  the  emotional  nature  which  corresponds  to,  or  is 
consistent  with  the  intellectual  operation  of  spelling 
out  the  sense  of  a  manuscript. 

2.  It  renders  the  speaking  the  reverse  of  true  expres- 
sion. 

(1.)  This  statement  requires  some  qualification 


Familiarity  with  the  Manuscript.        147 

although  its  significance  is  not  likely  to  be  overesti- 
mated* For  inasmuch  as  the  mere  utterance  of  the 
voice,  and  the  pronunciation  of  words,  in  whatever 
manner,  do  necessarily  imply  something  of  the  na- 
ture of  speaking,  these  acts  can  never  become  in  an 
absolute — but  they  do  become  in  a  qualified  sense, 
the  reverse,  or  opposite  of  expression. 

(2.)  The  reason  is  that  the  leading  mental  opera- 
tions are  the  reverse  of  those  which  belong  to  expres- 
sion. We  have  seen  that  the  mental  operations  of 
taking  in  the  sense  through  the  eye,  are  the  reverse  of 
those  which  belong  to  giving  it  out,  and  impressing  it 
upon  other  minds.  Consequently,  when  the  previous 
study  of  the  manuscript  is  neglected,  and  these  re- 
verse operations  become  predominant  in  the  con- 
sciousness of  the  speaker — that  is,  when  he  is  wholly 
or  chiefly  occupied  with  the  labor  of  transferring 
the  sense  of  the  words  from  the  manuscript  to  his 
own  mind — the  speaking  becomes  chiefly  expressive 
of  this  leading  mental  state ;  and  hence  it  not  only 
loses  all  proper  adaptation  to  the  communication  of 
thought  and  feeling  to  other  minds,  but  it  actually 
consists,  for  the  most  part,  of  signs  which  are  the 
reverse  of  expression. 

(3.)  This  reason  applies  to  all  the  signs  employed. 
Hence  all  the  phenomena  of  voice  and  gesture  are 
not  merely  subdued,  as  in  reading,  where  these  re- 
verse processes,  from  the  greater  plainness  of  the 
printed  page,  and  o  ;hcr  facilities,  are  still  carried  on 
subordinately  (§  73 — 4),  but  they  actually  become,  in 
their  characteristic  elements,  the  reverse  of  all  true 
expression.     The  eye,  of  course,  is  withdrawn  from 


148  The  Sources  op  Power. 

the  audience,  and  confined  to  the  manuscript,  which 
signifies  that  the  mind  of  the  speaker  is  withdrawn 
from  them,  and  from  the  work  of  speaking  to  them, 
and  is  otherwise  employed.  The  expression  of  the 
countenance,  when  compared  with  the  lighting  up 
and  glow  of  the  features  in  eloquent  delivery,  be- 
comes so  absurd  that  Hogarth  has  chosen  it  for  the 
subject  of  one  of  his  masterly  pictures,  namely, 
that  of  the  preacher  spelling  out  the  sense  of  his 
manuscript  to  a  snoring  congregation.  In  like  man- 
ner, the  motions  of  the  hands,  arms  and  body,  all  the 
gestures,  and  all  the  tones,  inflections,  articulations, 
and  changes  of  time,  pitch,  force  and  movement,  be- 
come, to  a  great  degree,  the  reverse  of  those  of  an 
overflowing  mind  and  heart,  pouring  out  its  fullness 
of  thought  and  feeling,  into  the  bosoms  of  an  atten- 
tive and  sympathizing  audience. 

(4.)  The  effect  is  like  that  of  saying  the  Lord's 
Prayer  backwards.  Where  these  reverse  pro- 
cesses thus  become  predominant  in  the  conscious- 
ness of  the  speaker,  their  effect  upon  the  speaking, 
and  upon  the  audience,  is  very  much  like  that 
of  reading  a  passage  of  Shakspeare  backwards; 
and  in  the  pulpit,  it  may  be  compared  to  that 
of  saying  the  Lord's  Prayer  backwards — a  spe- 
cies of  conjuring  with  sacred  words,  which,  ac- 
cording to  a  popular  superstition,  has  power  to 
raise  the  devil.  It  is  mournful  to  think  how  much 
of  what  is  called  preaching,  is  thus  the  reverse  of  all 
true  expression.  And  where  the  case  is  not  actually 
so  bad  as  this,  it  is  because  these  reverse  processes 
do  not  become  so  prominent  as  to  supersede  all  oth- 


PAMTLTIEITY.   WITH  THE  MANUSCEIFr.  149 

ers,  but  are  themselves  held  in  check  and  modified 
by  some  remaining  consciousness  in  the  speaker, 
that  he  is  yet  talking  to  people,  to  effect  some  object 
in  their  minds. 

§  77.  The  chief  temptation  to  neglect  this  source  of  power, 
which  requires  to  be  guarded  against,  is  the  security 
which  the  speaker  derives  from  the  manuscript. 

1.  This  temptation  is  very  general  and  difficult  to  re- 
sist. 

The  one  great  and  sore  temptation  to  neglect  the 
previous  study  of  the  manuscript,  which  many  speak- 
ers find  themselves  unable  to  resist,  and  which  some- 
times overcomes  probably  the  best,  arises  from  the 
very  thing  which  gives  this  method  of  speaking  its 
chief  advantage,  namely,  that  security  which  the 
speaker  feels,  with  respect  to  the  matter  of  his  dis- 
course, that  he  shall  be  able  to  reproduce  it  in  some 
form,  when  he  knows  that  he  shall  have  it  lying  be- 
fore him  in  manuscript,  at  the  moment  of  delivery. 
It  is  necessary  to  guard  against  this  temptation  with 
the  utmost  vigilance,  in  order  to  avoid  the  most 
shameful  failure,  and  in  order  to  speak,  in  this  meth- 
od of  delivery,  with  anything  worthy  of  the  name  of 
power. 

2.  Moral  motives  to  resist  it  ought  to  be  sufficient  mith 
dergymen. 

With  all  ministers  of  the  gospel  who  speak  from 
manuscript,  the  moral  obligation  which  rests  upon 
them,  to  neglect  nothing  which  can  aid  them  in  im- 
pressing upon  the  people  the  great  and  precious 
truths  which  the  Lord  has  put  into  their  mc  iths 


150  The  Sources  of  Poweb 

ought  of  itself  to  be  sufficient  to  enable  them  to  re- 
sist this  temptation.  For  where  this  obligation  is 
felt,  and  the  importance  of  this  source  of  power  is 
duly  appreciated,  there  is  no  difficulty.  All  that  is 
required  is  a  little  time  and  labor,  which  grows  less 
and  less  with  every  successive  discourse.  It  would 
be  easy  to  name  examples  of  those  who  seem  never 
to  have  neglected  this  source  of  power,  and  who 
have  derived  from  it  a  rich  reward  of  elocutionary 
power ;  so  that  from  their  delivery,  one  could  hard- 
ly perceive  that  they  had  any  manuscript  before 
them,  otherwise  than  from  seeing  them  turn  the 
Leaves.  But  if  the  foregoing  considerations  should 
have  no  influence  to  remedy  the  enormous  evil  which 
arises  from  the  prevalent  negleot  of  this  source  of 
power,  the  church  and  the  cause  of  Christ  must  con- 
tinue to  surfer,  until  a  generation  arises  who  shall 
have  received  from  elocutionary  training  a  better 
appreciation  of  its  importance,  or  who  shall  be  more 
faithful  to  their  moral  obligations. 

$  78.  The  comparative  advantages  of  this  method  of  speaking 
are,  that  it  relieves  the  mind  from  the  laborious  sub-pro- 
cesses of  both  the  others,  and  enables  the  speaker,  with 
due  attention  to  its  source  of  power,  to  employ  ail  his 
faculties  in  tiie  proper  work  of  delivery. 

When  the  requisite  degree  of  familiarity  with  the 
manuscript  is  secured,  this  method  of  speaking  is 
nearly  as  favorable  to  power  in  delivery  as  either  of 
the  others.  Indeed  there  can  be  little  doubt  that, 
for  all  who  have  not  either  the  very  highest  endow- 
ments of  memory,  or  at  least  a  good  faculty  of  ex* 


Familiarity  with  the  Manuscript.        151 

Lunpore  speaking,  it  is  the  best  of  the  three.  Foj 
it  relieves  the  mind  from  all  painful  efforts  of  mem- 
ory, and  from  the  dread  of  forgetting,  which  are  lia- 
ble to  prove  so  damaging  in  memoriter  speaking : 
and  from  the  vast  labor  of  invention,  arrangement 
and  style,  together  with  all  the  anxieties  and  fears 
to  which  these  give  rise,  and  which  load  the  mind 
and  delivery  in  extempore  discourse.  The  perfect 
security  which  the  speaker  feels,  when  he  has  all 
that  he  wishes  to  say  plainly  written  out  before  him, 
enables  him  to  throw  ah  his  faculties  and  powers 
into  the  proper  work  of  delivery.  The  sole  difficul- 
ty which  he  has  to  overcome,  is  the  necessity  of 
some  slight  reference  to  his  manuscript,  which,  with 
the  requisite  study  of  it  beforehand,  is,  as  we  have 
seen,  hardly  any  impediment.  Nor  win  such  a  use 
of  the  manuscript  give  any  offence  to  a  moderately 
intelligent  audience,  after  they  have  become  a  little 
accustomed  to  ifc.  For  when  the  speaker  refers  to 
it  unconsciously,  the  audience  soon  cease  to  notice 
that  he  has  any  manuscript  before  him. 

§  79.  A  plain  manuscript  is  of  great  importance   in   this 
method  of  speaking. 

In  order  to  facilitate  the  free  and  unconscious  use 
of  the  manuscript,  and  to  render  this  source  of  pow- 
er available  in  the  highest  degree,  it  is  evident  that 
the  discourse  should  always  be  written  on  the  be«?t 
of  paper,  and  in  the  plainest  chirography.  For  a 
plain  and  pure  and  perspicuous  manuscript,  not  onlj 
facilitates  greatly  the  mental  operations  of  catching 


152  The  Sources  of  Power. 

the  sense  by  a  momentary  and  unconscious  glance, 
but  also  it  encourages  the  esthetic  feeling  of  the 
speaker,  and  makes  it  easier  for  him  to  feel  confi- 
dence in  what  he  has  to  say,  in  a  similar  way, 
though  in  a  less  degree,  that  beautiful  paper  and 
print  enhances  the  beauty  of  the  thoughts  which  are 
thus,  as  it  were,  appropriately  dressed  and  adc  rned. 
On  the  other  hand,  a  blurred,  or  blotted,  or  confused 
manuscript  greatly  increases  the  difficulty  of  these 
mental  operations ;  and  when  the  speaker  relies  up- 
on gathering  the  sense  of  such  a  manuscript  at  the 
moment  of  delivery,  he  is  liable  to  hesitate,  and  be- 
come puzzled,  so  that  he  must  repeat  the  preceding 
words  before  he  can  succeed  in  spelling  out  his  own 
meaning.  What  effect  all  this  must  have  upon  his 
elocution,  and  upon  the  audience,  is  known  to  those 
who  have  been  bored  by  it,  but  which  it  is  much 
easier  to  imagine  than  to  describe.  The  only  won- 
der is,  that  it  does  not  have  the  effect  ascribed  to 
saying  the  Lord's  Prayer  backwards.  It  is  well 
worth  while  therefore  to  rewrite  a  discourse,  rathei 
than  to  deliver  it  from  a  poor  manuscript.  Many  a 
good  sermon  has  been  laboriously  rewritten,  chiefly 
for  the  purpose  of  purifying  and  perfecting  tha 
manuscript,  in  order  to  its  more  effective  delivery. 


CHAPTER  X. 

firAUTT,  FAVORABLE  MOODS,  AND  PHYSIO AL  REGIMER 
§  80.  Favorable  moods  are  of  great  importance  in  delivery. 

All  speakers  have  experience  of  favorable  and  un- 
favorable moods,  which  exert  the  greatest  influence 
upon  their  elocution.  So  great  is  this  influence 
that,  after  some  experience,  a  good  speaker  would 
rather  appear  before  an  audience  in  a  favorable 
mood  with  a  feeble  discourse,  than  in  an  unfavor- 
able one  with  the  best  discourse  he  can  possibly  pre- 
pare. For  in  the  former  case,  he  is  conscious  of  a 
certain  inward  fullness,  from  which  his  thoughts  and 
feelings  seem  to  overflow,  like  water  from  a  full  res- 
ervoir ;  in  the  latter,  his  mental  and  bodily  action  is 
feeble  and  slow,  accompanied  with  labor  and  fatigue ; 
in  a  favorable  mood,  he  moves  through  his  discourse 
as  a  stately  ship  through  the  water,  when  her  sails 
are  all  filled  with  the  favoring  gale  ;  in  an  unfavor- 
able mood,  he  is  like  the  same  ship  windbound,  and 
thumping  upon  the  shoals. 

fc  81.  The  favorable  mood  is  chiefly  dependent  upon  vitality. 

It  is  therefore  a  question  of  very  great  importance, 
now  shall  the  speaker  be  enabled  to  command  th€ 


154  The  Sources  of  Power. 

favorable  mood  for  each  occasion  of  speaking?  In 
order  to  answer  this  question,  it  is  necessary  to  state 
that  the  favorable  mood  depends  chiefly  upon  the 
condition  and  action  of  the  vital  forces  of  the  phy- 
sical organism.  There  is,  indeed,  a  vitality  of  the 
intellect,  of  the  sensibility,  and  of  the  will,  as  well  as 
cf  the  physical  organism,  but  these  cannot  be 
regarded  as  independent  of  each  other.  For  elocu- 
tionary purposes,  they  may  all  be  conceived  of  as 
different  modes  of  action,  or  forms  of  manifestation, 
of  the  one  principle  of  life,  health,  strength  and  en- 
ergy of  body  and  mind.  Now  a  full  and  healthy 
action  of  the  vital  forces  will  commonly,  with  due 
attention  to  regimen,  enable  the  speaker  to  com- 
mand the  favorable  mood  for  each  occasion  of  speak- 
ing ;  whilst  a  defective,  or  exhausted,  or  obstructed 
vitality,  arising  from  ill  health,  mental  distress, 
fatigue,  loss  of  sleep,  excess  in  eating  or  drinking, 
or  any  other  cause,  will  produce  the  unfavorable 
mood,  and  unfit  the  speaker  for  his  work,  just  as  in 
any  other  case  which  requires  the  most  strenuous 
exertion  of  all  the  faculties  and  powers  of  body  and 
mind. 

§  82.  A  mil  vitality  imparts  to  the  voice  its  most  effective 
qualities  and  powers,  and  a  certain  fullness  and  vivacity  to 
the  speaking  5  the  want  of  it  enfeebles  the  delivery  in  a 
corresponding  manner. 

A  full  and  healthy  action  of  the  vital  forces  is 
almost  indispensable  to  these  excellences  of  speak- 
ing, although  it  will  not  always  secure  them  without 
the  proper  regimen.  Its  natural  tendency  is  tc 
these  results. 


Vitality  and  Physical  Eegimen.  155 

1.  It  imparts  to  tlie  voice  its  most  effective  qualities 
and'  powers. 

Strength,  purity,  depth,  compass  and  flexibility  ol 
voice  are  essential  elements  of  power  in  delivery ; 
and  these  depend  upon  a  full  and  healthy  vitality  in 
the  speaker,  more  perhaps  than  upon  anything  else. 
For  although  sometimes  the  most  healthy  and  strong 
men  have  very  poor  and  feeble  voices,  on  account 
of  abnormal  defects  in  their  vocal  organism,  and 
sometimes  very  feeble  men  have  fine  voices,  yet 
there  can  be  no  doubt  that  a  high  degree  of  vitality 
is  favorable,  and  a  low  degree  is  unfavorable  to 
these  qualities  and  powers  of  the  voice,  and  to  that 
easy  management  of  it,  which  are  essential  to  ena- 
ble the  speaker  to  endure  the  labor  of  addressing 
public  assemblies  without  exhaustion  or  fatigue,  and 
consequent  feebleness  in  delivery. 

2.  It  naturally  manifests  itself  in  a  certain  fullness 
of  utterance  and  delivery. 

This  is  a  most  excellent  quality  of  elocution,  in 
which  the  speaker's  resources  of  physical  strength, 
thought,  feeling,  voice,  articulation,  and  all  the  ele- 
ments of  delivery,  seem  to  be  more  than  adequate 
to  the  demand.  This  at  least  is  the  impression 
which  such  fullness  of  utterance  makes  upon  the  au- 
dience, lie  seems  to  deliver  himself  without  effort, 
constraint,  or  fatigue ;  or  rather,  it  is  not  he  that 
speaks ;  he  opens  his  mouth,  and  it  seems  to  speak 
itself.  His  thoughts  speak,  his  emotions  and  pas- 
sions speak ;  his  whole  delivery  seems  to  overflow 
from  an  inexhaustible  fullness.  His  tones  are  full 
and  sonorous ;  his  changes  of  pitch  and  inflection 


156  The  Sources  oe  Power. 

are  full ;  that  is,  they  rise  and  fall  to  the  full  pitch 
required  by  the  sentiment ;  his  articulation  is  full, 
distinctly  enunciating  every  sound,  without  being 
labored,  or  overstrained  ;  his  emphasis  is  full,  reach- 
ing the  just  measure  of  force  and  frequency ;  and 
the  modulation  or  melody  of  his  speaking  is  full,  and 
satisfies  the  ear.  In  a  word,  fullness  is  the  charac- 
teristic of  the  whole  delivery. 

3.  It  imparts  animation  or  vivacity  to  the  speaking, 
for  the  want  of  which  hardly  any  other  quality  can  com- 
pensate. 

(1.)  Yivacity  is  a  beauty  of  motion,  and  depends 
upon  vitality.  As  a  beauty  of  motion  it  is  allied  to 
grace.  Vitality,  acting  as  keenness  and  rapidity  of 
the  intellectual  operations,  and  as  liveliness  or 
quickness  of  sensibility,  naturally  manifests  itself  in 
those  rapid,  easy,  sprightly,  natural  and  expres- 
sive motions,  in  which  vivacity  consists.  The  mo- 
tions in  this  case  are  those  of  the  voice,  in  its 
changes  of  quality,  force,  pitch,  inflection,  time, 
emphasis  and  modulation ;  also  those  of  the  body, 
in  its  changes  of  position  or  attitude  ;  those  of  the 
arms,  hands  and  fingers,  and  of  the  features  or 
countenance,  but  especially  of  the  eye,  which,  in 
its  amazingly  quick,  brilliant  and  varied  expressions 
of  the  soul,  is  the  most  perfect  type  of  vivacity. 
These  are  the  motions  in  which  animation  in  speak- 
ing consists,  and  by  which  a  good  speaker  shows 
himself  to  be  alive  all  over,  even  to  his  finger  nails, 
and  from  which  every  part  of  his  body  seems  to  be 
ao  less  eloquent  than  his  words. 


Vitality  and  Physical  Eegimen.         157 

(2.)  Animation,  therefore,  te  a  quality  of  speaking 
for  the  want  of  which  hardly  any  other  can  com- 
pensate. For  it  is  always  interesting,  and  often 
charming,  being  almost  sure  to  engage  the  attention 
and  sympathy  of  the  audience,  and  to  bring  out  all 
the  elocutionary  power  which  is  to  be  derived  from 
that  source ;  whilst  a  speaker  without  animation, 
however  otherwise  respectable,  can  hardly  fail  to 
put  the  audience  to  sleep. 

4.  The  want  of  vitality  enfeebles  the  wluole  delivery. 

Where  it  is  wanting,  the  speaker  seems  to  be  con- 
stantly overdrawing  upon  inadequate  resources. 
The  delivery  is  empty  and  dry  ;  it  lacks  continuity, 
and  sustained  pressure  upon  the  audience ;  it  is 
labored,  heavy  and  mechanical.  The  tones  are  dry 
and  hollow,  or  rough  ;  the  inflections  are  either  un- 
naturally extended,  or  they  fall  short ;  the  voice  is 
feeble,  either  too  low,  or  strained  to  a  high,  shrill 
pitch ;  the  emphasis  is  either  neglected  or  artificial, 
and  often  misplaced ;  the  articulation  is  either  in- 
distinct or  overstrained ;  the  general  movement  is 
either  too  slow  or  unnaturally  rapid.  The  whole 
delivery  is  characterized  by  emptiness  or  hollowness, 
often  making  the  impression  of  a  want  of  sincerity 
and  earnestness,  and  it  renders  the  audience  discon- 
tented and  irritable.  The  speaking  is  consequently 
powerless  to  effect  its  object. 

§  83.  Titality  and  the  favorable  mood  are  dependent  upon 
physical  regimen,  which  varies  for  different  speakers. 

1.  The  importance  of  such  regimen  arises  from  Ui 
influence  upon  Uie  vitality. 


158  The  Sources  of  Power. 

A  high  degree  of  vitality,  and  the  favorable  mooo 
for  speaking,  are  no  doubt  dependent  to  a  consider- 
able extent  upon  moral,  but  far  more  upon  physical 
causes.  Hence  the  importance  of  some  physical 
regimen  in  preparation  for  each  occasion  of  speak- 
ing. Some  such  preparation  has  been  found  indis- 
pensable by  almost  all  great  orators.  It  is  impossi- 
ble for  any  one  who  has  never  tried  it,  to  be  at  all 
aware  how  much  aid  it  will  afford  in  exciting  the 
requisite  vitality,  and  in  securing  the  favorable  mood. 
It  is  a  pity,  therefore,  that  so  many  speakers  who 
might  otherwise  excel,  allow  themselves  to  neglect 
it ;  for  in  consequence  of  this  neglect,  they  are  sel- 
dom able  to  bring  more  than  half  of  their  actual 
resources  to  the  work  of  delivery. 

2.  Such  regimen  varies  for  speakers  of  different  tem- 
peraments and  constitutions,  so  that  only  general  rules 
can  be  laid  dovm. 

Every  speaker  ought  to  make  careful  experiments 
for  himself,  to  determine  what  may  be  best  in  his 
own  case.  There  are,  however,  at  least  two  general 
rules,  by  the  observance  of  which  it  will  commonly 
be  found  possible  for  healthy  persons  to  command 
the  requisite  amount  of  vital  force,  and  the  favorable 
mood,  for  almost  every  foreseen  occasion  of  speaking. 


§  84.  The  first  general  rule  is  that  the  speaker,  in  prepara- 
tion for  speaking,  should  eat  less  than  usual,  and  the  food 
which  is  taken  should  he  nourishing  and  easily  digested. 

1.    The  vital  forces  will  not  inspire  the  brain,  and 
grind  in  the  stomach,  at  the  same  time. 


Vitality  and  Physical  Regimen.         159 

The  vital  forces  are  hardly  ever  sufficient  to  in- 
spire the  brain  with  that  intense  energy  and  activity 
which  public  speaking  demands,  at  the  same  time 
that  they  are  employed  in  digesting  a  stomach  full 
of  food.  Hence  it  is  necessary  to  tax  them  as 
lightly  as  possible  in  the  work  of  digestion,  when 
they  are  all  required  for  the  expression  of  thought. 

2.  In  feeble  constitutions  this  rule  sometimes  requires 
to  be  reversed. 

It  holds  good  chiefly  for  healthy  speakers. 
Where  the  general  health  is  enfeebled,  it  may  re- 
quire to  be  reversed.  It  is  related  of  the  younger 
Pitt,  that  in  the  later  years  of  his  life,  when  his 
physical  constitution  was  broken  down,  he  always 
found  it  necessaiy,  before  delivering  one  of  his  great 
speeches  in  Parliament,  to  brace  himself  up  with  a 
hearty  meal,  and  at  least  a  couple  of  bottles  of  wine. 
Some  of  our  greatest  American  orators  also,  as  is 
well  known,  have  required  to  be  very  highly  stimu- 
lated before  speaking.  But  these  are  examples 
fatal  to  imitate. 

3.  Tliefood  should  be  nourishing  and  easily  digested. 
Probably  in  most  cases  some  food  is  necessary, 

but  it  should  always  be  taken  in  a  highly  concen- 
trated form,  such  as  the  yolks  of  soft-boiled  eggs, 
so  that  as  little  in  bulk  and  quantity  as  possible  may 
yield  sufficient  nourishment. 

4.  The  best  regimen  for  a  healthly  speaker  is  to  ab- 
stain altogether  from  solid  food. 

Where  the  physical  strength  is  abundantly  ade- 
quate, as  it  ought  to  be  in  all  young  and  health* 


LGO  The  Soubces  of  Poweb. 

speakers,  the  best  regimen,  approved  by  a  copious 
experience,  is  total  abstinence  from  solid  food,  and 
a  cup  of  tea  or  coffee  taken  immediately  before 
commencing  to  speak.  This  last  particular  may 
seem  to  be  a  small  matter,  but  the  genial  and  in- 
spiring influence  of  a  cup  of  tea  upon  an  empty 
stomach,  is  much  greater  than  one  would  suppose ; 
and,  rightly  considered,  nothing  is  unimportant 
which  tends  in  the  least  to  increase  the  speaker's 
power  before  an  audience.  When  the  physical 
strength  is  not  fully  adequate,  some  food  should 
always  be  taken,  or  the  consequence  may  be  a 
greatly  enfeebled  vitality. 


§  85.  The  observance  of  this  rule  acts  favorably  upon  the  in- 
tellect, sensibilities,  and  physical  organs ;  the  neglect  of 
it  enfeebles  all  these. 

1.  Its  beneficial  effects  are  as  follows. 

These  will  be  found,  in  a  very  short  time,  to  be 
such  that  the  speaker  will  never  willingly  neglect  his 
regimen.  For  when  the  stomach  is  not  overloaded 
with  food,  the  intellectual  operations  are  more  keen 
and  rapid,  the  sensibilities  more  easily  excited,  espe- 
cially the  affections  are  more  tender  and  susceptible, 
than  at  other  times.  Also  there  is  more  room  for  the 
play  of  the  breath,  and  lower  organs  of  the  voice. 
In  fact  the  most  marked  effect  of  this  regimen  is  upon 
the  voice,  which  is  rendered  more  deep  and  full  and 
strong  and  flexible  ;  so  that  in  most  cases  its  powei 
will  be  found  to  be  more  than  doubled. 


Vitality  and  Physical  Begimen.         161 

2.   The  evil  cons  iquences  of  neglecting  it  are  thefollcw 
ing. 

These  are  far  more  damaging  than  any  one  would 
believe  who  has  never  tried  it.  For  it  is  almost  im- 
possible to  speak  well  with  one's  belly  full.  It  im- 
pedes the  intellectual  operations,  dulls  the  sensibili- 
ties, clogs  the  affections,  and  thus  renders  the  speak- 
ing dull  and  heavy  and  sluggish.  It  enfeebles  the 
voice,  renders  it  inflexible  and  unmanageable,  and 
its  deepest  and  richest  tones  unavailable.  Often  it 
manifests  itself  in  forms  hardly  to  be  distinguished 
from  total  want  of  earnestness  and  unction.  Ac- 
cordingly we  often  find  in  the  recorded  experience 
of  clergymen,  such  language  as  the  following : 
"  Yesterday,  I  preached  twice  to  my  beloved  peo- 
ple ;  but  oh !  I  was  empty,  empty — my  wheels  were 
taken  off,  and  I  dragged  heavily  through  both  the 
services."  One  can  hardly  read  such  a  passage 
without  wishing  for  an  opportunity  to  reply,  Ah! 
my  friend,  you  were  not  empty,  or  it  would  have 
been  much  better  for  you  and  your  people  ;  neither 
were  youi  wheels  taken  off — you  were  too  full,  you 
were  overloaded — that  was  your  trouble. 


$  86.  The  second  general  rule  is  that  the  speaker,  in  prepara- 
tion for  speaking,  should  take  plenty  of  rest,  and  exercise 
in  the  open  air. 

1.  Fatigue  implies  the  destructkm  of  life. 

The  physiological  cause  of  fatigue,  whether  of 
body  or  mind,  is  always  the  destruction  of  life  in  a 
large  number  of  the  vital  cells,  of  which  the  brai* 


162  The  Sources  of  Power. 

and  nervous  tissues,  and  in  fact  the  whole  organisn 
of  the  body  are  composed.  This  destruction  always 
takes  place  from  strenuous  and  prolonged  effort, 
whether  of  the  intellect,  sensibility,  or  will,  or  of  the 
muscles  of  the  body.  In  mental  activity  especially. 
and  most  of  all,  in  that  which  is  accompanied  with 
anxiety,  or  grief,  or  watchfulness,  this  destruction 
of  life,  and  consequent  exhaustion  of  the  vital  forces, 
is  very  rapid  and  prostrating.  But  howsoever  it  is 
produced,  it  leaves  the  animal  matter  of  which  the 
defunct  life-cells  are  composed,  in  a  decomposed 
state,  in  which  it  is  deposited  in  the  blood,  render- 
ing this  vital  fluid  thick,  sluggish  and  pale. 

2.  In  a  state  of  exhaustion,  therefore,  it  is  impossible 
to  speak  well. 

For  when  the  speaker  comes  to  his  work,  having 
his  blood  thus  loaded  with  dead  animal  matter,  all 
his  faculties  of  body  and  mind  are  necessarily 
clogged  and  dull  and  sluggish.  Evidently  to  speak 
with  feeling,  animation,  or  any  other  element  oi 
power,  in  such  a  physical  and  mental  condition, 
must  be  the  next  thing  to  impossible. 

3.  Hence  tJie  necessity  of  rest  and  pure  air. 

For  the  blood  in  this  corrupt  state  is  poured  into 
the  lungs,  where  the  dead  matter  is  absorbed  by  the 
breath,  and  exhaled,  or  carried  out  of  the  system. 
Hence  the  absolute  necessity,  previous  to  speaking, 
of  a  :lequate  rest,  and  of  inhaling  large  draughts  ol 
pure  air,  in  order  to  purify  tne  blood,  and  restore 
its  exhausted  vitality.  This  implies,  of  course,  thai 
every  cause  Df  fatigue  should  be  avoided,  and  that 


Vitality  and  Physical  Regimen.  163 

some  time  previous  to  each  occasion  of  speaking 
should  be  spent  in  the  open  air,  which  should  also 
be  accompanied  with  more  or  less,  but  never  fatiguing 
exercise  of  the  voice. 

4.  This  rule  is  of  special  importance  to  clergymen. 
The  extensive  and  laborious  intellectual  and  moral 

preparations  for  speaking  which  are  required  of 
clergymen,  and  which  render  their  observance  of 
this  rule  somewhat  difficult,  render  it  also  of  far 
greater  importance  for  them  than  for  other  speakers. 
Abundant  experience  proves  its  necessity,  and  that 
it  brings  a  rich  reward  of  increased  power  in  deliv- 
ery. For  the  reason  that  clergymen  are  compelled 
to  speak  twice  or  three  times  on  Sunday,  they  ought 
never  to  leave  the  study  later  than  at  noon  on  Satur- 
day. The  remainder  of  the  day  should  be  devoted 
to  rest,  and  gentle  exercise  in  the  open  air,  and  the 
night  to  sound  and  refreshing  sleep.  In  like,  man- 
ner, the  intervals  between  the  Sunday  services  should 
be  devoted  to  rest.  For  by  such  adequate  refresh- 
ment and  renovation  of  the  vital  forces,  the  preacher 
may  make  the  latter  services  as  animated  and  inter- 
esting as  the  former,  which  is  the  more  desirable  in 
order  to  overcome  the  increasing  temptation  of 
church-goers  to  stay  at  home  in  the  afternoon. 

5.  The  neglect  of  this  rule  by  clergymen  is  both  a  folly 
i7id  a  sin. 

The  habit  in  which  so  many  clergymen  indulge,  of 
sitting  at  the  study  table  until  late  on  Saturday  even- 
ing, thus  rendering  the  few  hours  of  unrest  which 
follow,  totally  inadequate  to  restore  their  exhaustec1 


164  The  Sources  of  Power. 

vitality,  cannot  be  too  strongly  condemned.  No  ne- 
cessity of  intellectual  preparation,  whether  theolo- 
gical or  rhetorical,  can  justify  it ;  for  thus  a  vast  pro- 
portion of  the  fruits  of  such  preparation  is  thrown 
away,  from  inability  to  deliver  with  any  power  what 
they  have  prepared.  This  habit  is  a  sin,  as  well  as 
an  inexcusable  folly — in  many  cases  the  consequence 
of  previous  sin  and  folly,  namely  that  of  neglecting 
their  study  work  on  the  earlier  days  of  the  week — 
sins  and  follies,  which  receive  their  just  punishment 
often  in  such  feebleness  of  delivery  as  renders  the 
attempt  at  preaching  the  gospel  on  the  part  of  those 
who  are  guilty  of  them,  a  miserable  failure ;  and 
which  not  unfrequently  result  in  the  early  ruin  of 
their  health,  and  blasting  of  all  their  hopes  of  use- 
fulness. For  whatsoever  is  worthy  of  the  name  ol 
preaching  requires  the  exercise  of  the  whole  vita] 
force  of  a  sound  and  healthy  man.  To  preach  the 
gospel  takes  all  there  is  or  con  ever  be  in  any  man. 


CHAPTER  XI. 

SELF-CONTBOL. 

§  87.  Self-control  is  essential  to  the  conscionsness  and  mani- 
festation of  reserved  force  in  speaking— '  the  spirit  of  tin 
prophets  ninst  be  subject  unto  the  prophets.' 

This  divine  precept  teaches  us  that  the  prophets 
were  not  allowed  to  lose  the  entire  control  of  them 
selves,  even  in  their  inspired  revelations,  and  ecstatic 
visions.  The  orator  also  is  a  prophet  in  a  true 
though  limited  sense,  and  it  is  equally  necessary 
that  his  ardor  and  passion,  however  high  they  may 
rise,  should  never  be  allowed  to  get  the  better  of 
reason  and  propriety.  He  must  never  allow  himself 
to  be  transported  wholly  out  of  himself,  but  there 
must  always  be  a  clear  method  in  his  prophetic  rap- 
tures. It  was  said  of  Demosthenes,  that  even  in  his 
most  impassioned  eloquence,  he  never  was  known  to 
lose  control  of  himself ;  and  this  enabled  him  to 
control  and  direct  the  storm  which  he  raised,  and  on 
which  he  rode.  In  like  manner,  all  truly  great 
orators,  in  their  noblest  flights,  whilst  transporting 
their  audiences,  keep  the  mastery  of  the  situation  by 
remaining  masters  of  themselves.  Their  speaking 
is  always  characterized  by  a  certain  consciousness 
and  manifestation  of  reserved  force,  by  temperance 


16(5  The  Sources  of  Power. 

and  propriety  or  becomingness  of  utterance  and 
gesture,  which  are  essential  to  genuine  and  sustained 
power  in  delivery. 

j  88.  The  consciousness  of  reserved  force  enables  the  speaker 
to  feel  secure;  in  its  natural  manifestations  it  awakens 
the  confidence  of  the  audience,  and  the  want  of  it  en- 
feebles delivery. 

1.  The  consciousness  of  power  is  itself  a  source  of 
power. 

This  consciousness  of  reserved  force  applies  to 
thought,  feeling  and  utterance.  It  is  practically  the 
same  thing  as  the  consciousness  of  power.  A  very 
large  proportion  of  the  power  in  delivery,  which  is 
exerted  by  great  orators,  results  simply  and  directly 
from  this  consciousness  of  power,  or  from  the  sense 
of  security  inseparable  from  it,  which  they  have  ac- 
quired by  successful  practice.  Feeling  that  they 
carry  within  them,  while  speaking,  abundant  re- 
sources of  thought,  emotion  and  utterance,  which 
are  as  yet  untouched,  they  are  enabled  to  exercise 
that  rational  self-confidence  which  is  essential  to 
the  employment  of  their  faculties  in  the  proper 
work  of  delivery  (§  28 — 1). 

2.  Its  influence  upon  the  speaking  is  asfottows. 

It  enables  the  speaker  to  forecast  his  emphatic 
passages  and  words,  to  graduate  the  amount  oi 
force  and  time  which  may  be  appropriate  to  the 
several  parts  of  the  discourse,  to  manage  his  pauses 
and  transitions  with  their  proper  effect,  and  to 
speak  with  due  deliberation  and  right  emphasis. 


Self-control.  167 

3.  It  awakens  the  feeling  of  security  in  the  audience, 
and  excites  their  imaginations. 

This  consciousness  of  power,  or  reserved  force,  in 
its  natural  manifestations,  produces  upon  the  audi- 
ence a  great  effect.  For  the  feeling  of  security 
in  the  speaker  awakens  a  corresponding  feeling  oi 
security  in  them.  They  follow  him  with  confidence, 
who  leads  them  with  confidence.  They  follow  him 
with  expectation,  because  he  seems  to  be  leading 
them  into  a  region  of  inexhaustible  abundance,  of 
which  as  yet  they  have  had  only  glimpses  from  a 
distance.  When  they  see  that  he  is  rather  restrain- 
ing than  exerting  himself,  they  feel  the  greater  in- 
terest in,  and  ascribe  a  higher  value  to  what  he 
actually  says,  than  they  would  if  they  saw  that  he 
was  giving  out,  at  every  step,  all  that  there  was  in 
him.  Their  imaginations  are  more  excited,  and  their 
sensibilities  are  more  deeply  affected,  by  what  is 
veiled  or  held  back,  than  they  would  be  if  all  were 
openly  and  fully  expressed.  For  in  elocution,  as  hi 
rhetoric,  partial  and  judicious  suppression  is  one  of 
the  most  powerful  forms  of  expression.  The  stifled 
sob  of  the  bereaved  mother,  at  the  grave  of  her  dead 
child,  is  more  affecting  than  the  loud  and  boisterous 
wail  of  uncontrolled  anguish. 

4.  The  want  of  this  consciousness  of  -reserved  force 
confuses  and  enfeebles  the  elocution,  and  begets  distrust 
in  the  audience. 

When  the  speaker  feels  that  he  is  exerting  himself 
to  the  uttermost,  and  has  nothing  to  fall  back  on, 
xhis  renders  him  anxious  and  uncertain,  which  en- 


168  The  Sources  of  Power. 

foebles  all  his  faculties.  In  case  he  is  at  no  loss  foi 
words,  he  will  speak  too  rapidly,  piling  sentence  upou 
sentence,  and  paragraph  upon  paragraph,  without 
due  deliberation,  pauses,  or  discreteness  in  his  deliv- 
er)'. In  other  cases,  his  timidity  and  anxiety  will  be 
so  great  as  to  cause  hesitation  and  confusion.  His 
voice  now  trembles ;  his  tones,  inflections,  articula- 
tion, emphasis  and  gesture,  are  hurried  and  flurried. 
His  whole  delivery  becomes  uncertain,  confused  aud 
ineffectual.  By  such  signs  the  audience  soon  per- 
ceive that  the  speaker  is  drawing  upon  all  his  re- 
sources, that  he  cannot  rise,  and  must  soon  decline, 
consequently  their  expectations  are  all  unfavorable, 
their  sensibilities  are  chilled,  and  their  imaginations 
are  paralyzed.  They  now  follow  him,  if  at  all,  with 
a  feeling  of  insecurity ;  he  seems  to  them  to  have 
less  and  less  power  the  longer  he  speaks ;  and  they 
experience  a  sense  of  relief,  instead  of  regret,  when 
he  comes  to  a  close.  It  is  only  in  his  peroration 
that  the  speaker  can  safely  exert  himself  to  the  ut- 
most, and  leave  himself  without  the  consciousness 
of  reserved  force. 


§  89.  The  loss  of  the  control  of  himself  causes  the  speaker  to 
lose  control  of  his  audience— when  overcome  by  emotion 
he  should  pause. 

When  the  speaker  loses  control  of  himself  through 
excess  of  feeling,  the  sympathetic  relations  between 
himself  and  his  audience  are  broken  up,  and  throwu 
into  confusion.  His  emotions,  being  so  much  deepei 
«md  more  powerful  than  theirs,  become  incompre- 


Self-control.  169 

hensible  to  them ;  they  can  see  no  good  reason  why 
he  should  be  so  deeply  moved,  and  consequently 
they  are  unable  to  sympathize  with  him.  Not  only 
then  does  his  passion  fail  to  excite  in  them  corres- 
ponding emotions,  but  it  produces  a  contrary  effect. 
Thus,  as  we  have  seen  (§  45 — 3),  weeping,  or  other 
signs  of  grief  or  sorrow,  in  excess,  or  when  there 
does  not  seem  to  be  sufficient  cause,  has  the  effect 
of  drivelling.  Whenever,  therefore,  from  such  ex- 
cessive emotion,  the  speaker  loses  control  of  himself, 
he  necessarily  loses  control  of  the  audience.  He 
can  no  longer  grasp  them  with  his  mind,  nor  hold 
them  in  his  mental  grasp  up  to  the  object  which  he 
aims  to  accomplish.  Excessive  feeling,  moreover, 
soon  exhausts  the  vital  forces,  and  renders  the  de- 
livery of  the  subsequent  parts  of  the  discourse  tame 
and  feeble,  both  in  itself,  and  by  contrast  with  that 
which  has  preceded.  If,  however,  in  spite  of  him 
self,  the  speaker  should  at  any  time  be  overmastered 
by  a  flood  of  emotion,  his  only  safe  course  is  to 
pause  until  he  recovers  his  self-control;  in  which 
case,  if  the  pause  be  not  too  long,  it  may  prove  the 
most  effective  part  of  his  delivery. 


§  90.  Self-control  is  essential  to  propriety  in  speaking,  which 
consists  in  the  adaptation  of  the  delivery  to  the  character 
of  the  speaker,  the  sentiments,  the  occasion,  and  the  cir- 
cumstances, and  which  is  of  great  importance  in  elocu- 
tion, as  in  all  art. 

1.  Propriety,  the  ur  deceat,  as  understood  by  tht 

ancient  authors,  and  by  Shakspeare,  depends  upon  self 

control. 

^Z\  B  R  A  /f] 

OF  THE 

UNIVERSH 


17C  The  Sources  on  Power. 

(1.)  Cicero  insists  much  on  propriety,  as  one  of  th* 
chief  essentials  to  power  in  oratory ;  but  he  gives 
us  little  aid  in  determining  wherein  it  consists,  01 
how  it  is  to  be  attained.  His  directions  are  ofteu 
reiterated  in  such  words  as  the  following  :  "  In  mosi 
things  [pertaining  to  oratory]  that  which  is  mosi 
useful  is,  I  know  not  how,  the  most  becoming." 

(2.)  Quintilian  is  more  full  and  explicit,  where  he 
tells  us,  in  substance,  that  propriety  consists  in  the 
adaptation  of  the  delivery  to  the  character  of  the 
speaker,  the  sentiments,  the  occasion  and  circum- 
stances of  speaking.  This  seems  to  cover  the  wholo 
ground. 

(3.)  Shakspeare  teaches  us  that  the  chief  element 
of  this  excellence  has  its  source  in  self-restraint,  or 
self-control.  In  the  passage  cited  below  (§  91),  he 
gives  us  the  following  direction :  "  Suit  the  action 
to  the  word,  and  the  word  to  the  action  ;  with  this 
special  observance,  that  you  o'erstep  not  the  mod- 
esty of  nature For  in  the  very  torrent-,  tempest, 

and,  as  I  may  say,  whirlwind  of  your  passion,  you 
must  acquire  and  beget  a  temperance  that  may  give 
smoothness."  We  see  in  this  that  the  most  glar- 
ing violations  of  propriety  arise  from  the  loss  c( 
self-re'strain't,  and  consist  in  thus  *  overstepping  the 
modesty  of  nature.' 

2.  In  all  art  nature  requires  to  be  imitated  with  c. 
trtaln  modest  reserve. 

Truth  to  nature  does  not  consist  in  copying  hei 
material  forms  with  servility,  or  minute  particular- 
ity.    Often  tlu>  will  produce  nothing  better  than  a 


Self-control.  171 

caricature.  For  such  is  the  eternal  distinction  be- 
tween nature  and  art,  that  we  reverence  in  nature 
what  we  cannot  tolerate  in  any  attempt  at  the  imi- 
tation of  her  sacred  mysteries.  That  which  in 
nature  is  simple  truth,  will  often,  when  minutely 
copied,  become  an  outrage  on  propriety.  A  cer- 
tain creative  freedom  is  characteristic  of  all  true  art. 
For  nature  can  be  truly  imitated  only  by  generous 
spirits,  who  sympathize  with  her  inner  life  ;  never 
by  servile  copying   of  her  mere  material  fo^ms. 

3.  This  modest  reserve  is  one  of  the  most  important 
lessons  of  ancient  art 

So  imbued  with  it  were  the  Greeks,  an'l  so  keen 
was  their  sense  of  propriety  with  respect  to  it,  that 
they  seem  to  have  regarded  it  as  a  fundamental  es- 
thetic law.  Hence  in  expressing  even  the  most  vio- 
lent passions,  such  as  the  despair  of  Niob  3,  the  grief 
and  anguish  of  the  father  of  Iphigenia  &t  Aulis,  and 
the  physical  torment  of  Laocoon  and  h  is  sons,  the 
whole  exhibition  is  subdued,  and  kept  within  the 
strictest  limits  of  propriety.  The  Greek  artists 
have,  indeed,  been  criticised  for  the  rigor  of  their 
works  in  this  respect,  as  being  untrue  to  nature  ; 
for  nature  often  expresses  herself  in  very  unlovely 
forms.  Despair,  e  a.  grins,  gnashes  the  teeth,  and 
tears  the  hair  Yet  the  Greeks  were  right,  and 
their  critics  are  wrong. 

1.    The  principle  applies  in  all  its  force  to  elocution. 

For  it  is  certain  thc*t  whoever,  in  speaking,  should 
attempt  to  portray  thr  anguish  and  despair  of  lost 
Houls,  by  showing  us  how  they  grin,  and  gnash  tkeii 


172  The  Sources  of  Power. 

teeth,  and  tear  their  hair,  would  '  overstep  the  mod 
esty  of  nature,'  would  outrage  all  propriety,  and  in- 
stead of  producing  the  impression  at  which  he 
aimed,  would  excite  disgust  or  ridicule  ;  and  all  this 
for  the  reason  that  the  sacred  mysteries  of  nature 
require  to  be  imitated  or  expressed  in  art  with  a 
certain  reverent  modesty,  and  delicate  reserve. 

§  91.  Propriety  is  the  principal  point  insisted  on  in  Hamlet's 
direction  to  the  players. 

This  whole  subject  of  propriety,  in  its  relations  to 
self-control,  is  that  which  is  chiefly  insisted  on  by 
Shakspeare,  in  that  masterly  direction  to  the  players 
which  he  has  given  us  in  the  Hamlet,  and  which  for 
its  own  intrinsic  excellence,  no  less  than  for  the 
weight  of  the  great  poet  'a  authority,  ought  to  be 
carried  in  the  memory  of  every  student  of  elocution, 
and  of  every  public  speaker.  It  has,  indeed,  far 
greater  value  for  the  orator  than  for  the  actor,  for 
the  reason  that  violations  of  propriety,  that  is  to 
say,  violations  of  truth  and  nature,  ought  to  be,  if 
they  are  not,  more  offensive  in  public  speaking  upon 
grave  and  momentous  occasions,  than  they  can  be 
in  play-acting.  This  whole  passage  is  therefore  re- 
produced here : 

"  Speak  the  speech,  I  pray  you,  as  I  pronounced 
t  to  you.  But  if  you  mouth  it,  as  many  of  oui 
players  do,  I  had  as  lief  the  town  crier  spoke  my 
lines.  Nor  do  not  saw  the  air  too  much  with  your 
hand — thus,  but  use  all  gently.  For  L*  the  very 
torrent,  tempest,  and,  as  I  may  say,  whirlwind  oi 


Self-control.  173 

your  passion,  you  must  acquire  and  beget  a  tem- 
perance that  may  give  it  smoothness.  Oh !  it 
offends  me  to  the  soul  to  hear  a  robustious,  perri- 
wig-pated  fellow  tear  a  passion  to  tatters,  to  very 
rags,  to  split  the  ears  of  the  groundlings ;  who,  foi 
the  most  part,  are  capable  of  nothing  but  inexplica- 
ble dumb  shows  and  noise.  I  would  have  such  a 
fellow   whipped  for  o'erdoing  Termagant.     It  out- 

Herods  Herod.     'Pray  you  avoid  it Be  not 

too  tame  neither ;  but  let  your  discretion  be  your 
tutor.  Suit  the  action  to  the  word,  and  the  word  to 
the  action ;  with  this  special  observance  that  you 
o'erstep  not  the  modesty  of  nature.  For  anything 
so  overdone  is  from  the  purpose  of  playing  [speak- 
ing]. Oh!  there  be  players  [speakers]  that  I  have 
seen  play  [speak],  and  heard  others  praise,  and  that 
highly — not  to  speak  it  profanely — that  neither 
having  the  accent  of  Christians,  nor  the  gait  of  Chris- 
tian, pagan,  nor  man,  have  so  strutted  and  bellowed, 
that  I  had  thought  some  of  nature's  journeymen 
had  made  men,  and  not  made  them  well,  they  imi- 
tated nature  so  abominably." 

3  '.)'!.  The  means  of  acquiring  self-control  in  elocution  are 
the  same  as  in  other  things. 

The  means  of  cultivating  the  power  of  self-con- 
trol do  not  come  within  the  province  of  elocution. 
They  are  in  speaking  the  same  as  in  every  other 
department  of  life,  viz  :  practice  and  familiarity,  in 
the  circumstances  and  sphere  of  activity  in  which 
we  most  desire  to  exercise  it,  together  with  the 


L74  The  Sources  op  Power. 

feeling  of  our  moral  responsibility  with  respect  tc 
it,  and  of  its  indispensable  importance  to  success, 
not  only  in  speaking,  but  also  in  everything  else 
For  without  self-control,  man  is  not  man,  but  only  a 
fractional  part  of  the  vast  and  fatal  forces  of  na- 
ture. 

^  93.  Conclusion  of  the  sources  of  power  in  delivery. 

It  is  hoped  that  the  views  which  have  now  been 
presented,  will  tend  to  obviate  the  prejudices  against 
this  art,  which  have  arisen  out  of  the  attempt  to  con- 
struct it  from  the  nature  and  laws  of  the  organs  of 
speech,  and  of  articulate  sounds,  without  reference 
to  the  sources  of  its  power,  in  the  intellectual,  moral 
and  esthetic  states  and  workings  of  the  mind  and 
soul  of  the  speaker.  It  is  hoped  and  believed,  also, 
that  the  study  of  this  noble  and  beautiful  art,  as  here 
laid  down, — so  far  from  having  any  tendency  to  gen- 
erate coldness,  mannerism,  or  a  mechanical  style  oi 
speaking,  which  to  some  extent  have  been  the  fruits 
of  the  study  of  it,  conceived  as  an  art  of  mere  man- 
uer,  without  reference  to  the  states  of  the  soul  which 
it  is  intended  to  embody,  symbolize  and  express, — 
will  so  stimulate  and  quicken  the  faculty  of  speaking 
and  of  eloquence,  that  the  student  will  be  enabled 
to  derive  the  greater  benefit  from  the  studies  which 
are  to  follow,  of  the  manner  and  forms  whicn  are 
characteristic  of  eloquent  speaking,  that  is  K»  say 
of  the  Elements  of  Power  in  delivery. 


PART   II. 


THE  ELEMENTS  OF  POWER  IN  UELIV)  BY 


I. — Abttculation. 

II. — Accent. 
III. — Pronunciation. 
IV. — The  Qualities  of  the  Voice 

V. — The  Powers  of  the  Voice. 
VI. — Pitch  and  Inflection. 
VII.— Time  and  Pause. 
VIIL— Force. 
IX. — Emphasis. 

X. — Gestusub. 


CHAPTER  L 

METHOD  OF  TREATMENT. 

§  »4.  The  treatment  of  the  elements  of  power  in  delivery  in- 
cludes phonology,  and  the  laws  of  expression, 

1.  Phonology  is  the  science  of  vocal  sounds. 

The  principles  and  laws  of  this  science  are  exhibit- 
ed in  the  chapters  on  the  vocal  organism,  articula- 
tion, accent  and  pronunciation.  It  is  hoped  that 
these  chapters  may  have  an  interest  for  the  scientific 
phonologist,  independently  of  their  oearing  upon 
the  art  of  Elocution.  For  the  objects  of  this  art, 
however,  they  of  course  include  a  discussion  of  the 
general  relations  of  phonology  to  expression. 

2.  The  laws  of  expression  include  tJw  applications  oj 
p  homology  to  the  expression  of  thought  and  sentiment 

These  laws  are  treated  of  chiefly  in  the  chapters 
on  the  qualities  and  powers  of  the  voice,  pitch 
and  inflection,  time  and  pause,  force,  emphasis  and 
gesture.  The  Elements  of  power  in  delivery,  more- 
over, are  properly  divided  into  those  of  the  voice, 
and  those  of  gesture ;  of  which  the  former  are  be- 
yond all  comparison  the  most  important,  and  con- 
stitute nearly  the  whole  of  what  is  commonly  in- 
cluded in  Elocution. 


178  The  Elements  of  Poweb. 

§  95.  The  following  treatment  of  the  Elements  aims  at  mora 
perfect  generalization,  and  greater  simplicity,  than  hare 
been  hitherto  attained. 

The  Elements,  as  distinguished  from  the  Sources 
of  power  in  delivery,  have  been  copiously  and  ably 
treated,  both  by  European  and  Amerioan  authors. 
Most  of  these  works,  however,  are  characterized  bv 
great  minuteness  of  analysis  and  detail,  and  contain 
a  vast  multitude  of  special  rules  and  precepts.  The 
author  of  this  work,  in  addition  to  the  original  views 
presented,  especially  in  phonology,  has  carefully  re- 
worked, and  brought  to  the  test  of  experiment,  what- 
ever he  has  retained  from  previous  writers.  He  has 
also  aimed  to  effect  a  more  thorough  and  perfect 
generalization  and  simplification  of  whatever  he  has 
found  wrought  out  to  his  hand ;  whilst,  at  the  same 
time,  he  has  excluded  a  great  amount  of  what,  in  his 
judgment,  has  been  overdone,  and  thereby  rendered 
practically  unavailable. 

§  96.  The  treatment  here  proposed  is  founded  upon  Dr.  Rush's 
Philosophy  of  the  Human  Voice. 

1.   This  is  a  work  of  tJie  greatest  value. 

This  author,  it  is  believed,  has  done  more  to  lay 
open  what  was  before  veiled  and  mysterious  in 
speech,  and  to  explain  the  phenomena  of  power  in 
delivery,  than  any  other,  whether  of  ancient  or  mod- 
ern times.  His  work  Gught  to  be  patiently  studied 
by  every  one  who  would  become  acquainted  witb 
the  nature,  powers  and  adaptations  of  that  won- 
drous vocal  instrument,  which  is  brought  into  play 
in  every  spoken  word.     In  fact,  before  it  was  pub- 


Method  of  Tbeatment.  17ii 

lished,  anything  like  a  scientific  exposition  of  the 
vocal  elements  of  expression  was  hardly  possible. 
Consequently  all  subsequent  writers,  at  least  in  this 
country,  who  are  worthy  to  be  consulted,  have  drawn 
from  it,  sometimes  with,  and  sometimes  without  ac- 
knowledgment, both  their  materials  and  most  oi 
their  results. 

2.  But  the  work  is  iU-adcvpted  to  the  wants  of  prac- 
tical students. 

For  those  whose  only  and  immediate  aim  is  the 
Attainment  of  power  in  delivery,  this  work  can  sel- 
dom be  of  much  service.  For  few  persons,  except 
the  most  earnest  teachers,  or  physiologists  led  by  a 
purely  scientific  interest,  can  be  expected  to  master 
its  difficult  and  often  obscure  details;  and  even 
where  this  seems  to  have  been  accomplished,  as  in 
the  case  of  some  teachers,  the  result  has  not  always 
been  satisfactory.  For  the  author's  plan  embraces 
only  the  treatment  of  the  Elements,  excluding  en- 
tirely the  preceding  Sources  of  power,  from  which, 
as  we  have  seen,  the  very  life  and  spirit  of  delivery 
must  be  derived.  Consequently  the  tendency  of  the 
work,  if  the  student  be  not  on  his  ^uard,  is  to  dis- 
place from  his  consciousness  those  mental  operations 
which  properly  belong  to  the  giving  out  or  expres- 
sion of  thought  and  feeling  ;  to  render  predominant 
in  his  mind  the  rules  and  precepts  of  the  art-,  toge- 
ther with  all  those  other  mental  actions  which,  in 
good  speaking,  are  carried  on  strictly  as  sub-process- 
es ;  and  thus,  to  cherish  and  develop  the  vices  of 
elocution,  rather  than  to  correct  them. 


180  The  Elements  of  Power. 

3.  The  evils  which  liave  arisen  from  the  varioiu 
attempts  to  reduce  it  to  practice,  are  here  guarded  against 

The  great  difficulty  with  the  work  of  Dr.  Rush, 
then,  is  not  that  it  is  not  true,  but  that  it  is  limited 
to  the  discussion  of  the  Elements  of  power,  and  that 
it  is  too  minute  and  abstruse  for  practical  use.  The 
system  here  exhibited  is  founded  upon  it,  for  tho 
reason  that  otherwise  truth  and  nature  must  have 
been  violated :  whilst  the  evils  which  have  arisen 
from  previous  attempts  to  reduce  its  minute  and  ob- 
scure statements  to  practice,  are  sufficiently  guarded 
against,  it  is  hoped,  by  the  preceding  exhibition  of 
the  Sources  of  power ;  by  avoiding,  as  far  as  possi- 
ble, the  multiplication  of  rules  and  precepts,  and 
by  insisting  upon  comparatively  a  few  general  prin- 
ciples. 


CHAPTEE  H 

THE    VOCAL    ORGANISM    IN    RELATION    TO     VOCAL    OUL« 
TORE. 

§  97.  Great  importance  of  vocal  culture. 

1.  The  voice  is  of  paramount  importance  in  delivery 
This  would  seem  to  be  sufficiently  obvious.     If  it 

were  not,  we  might  refer  to  the  following  author- 
itative declaration  of  Cicero :  "  For  the  effectiveness 
and  glory  of  delivery,  the  voice,  doubtless,  holds  the 
first  place." 

2.  It  is  capable  of  as  great  improvement  for  speak* 
ing  as  it  is  for  singing. 

The  wonderful  improvement  of  which  the  voice  is 
capable,  is  well  understood,  and  fully  appreciated 
by  the  teachers  and  proficients  in  the  sister  art  of 
music ;  but  it  is  not  so  generally  understood  that  it 
is  capable  of  equal  development,  by  systematic  train- 
ing and  exercise,  for  purposes  of  oratory.  Yet  every 
teacher  of  elocution  can  refer  to  numerous  instances, 
in  which  voices  very  inferior  by  nature,  have  at- 
tained, in  a  short  time,  by  a  few  simple  exercises, 
to  great  excellence ;  have,  in  fact,  doubled,  tripled, 
and  even  quadrupled  their  speaking  power.  There 
irould  seem  to  be  do  instances  in  which  diligence 


182  The  Elements  of  Power. 

in  such  exercises,  with  due  care  to  guard  againsl 
overstraining  the  organs,  has  not  resulted  in  great 
improvement;  whilst  it  may  be  said,  in  general 
that  the  untrained,  or  uncultivated  voice,  is  worth 
little  more  for  public  speaking  than  _t  is  for  singing. 

3.  The  culture  of  the  voice  was  highly  appreciated  by 
the  ancients. 

Among  the  Greeks  and  Romans  there  was  a  dis- 
tinct class  of  teachers,  called  pJionasci,  or  vocists, 
who  devoted  themselves  wholly  to  the  training  of  the 
voice,  and  who  carried  their  pupils  through  a  most 
laborious  and  protracted  course  of  exercises.  In 
order  to  develop  strength  of  voice,  e.  g.  they  pre- 
scribed declamation  whilst  walking,  running,  climb- 
ing, and  lying  upon  the  back ;  and  in  this  last  posi- 
tion, with  weights  on  the  chest.  The  results  which 
they  attained  have  been  already  alluded  to  (§19) 
as  exemplified  in  the  thunder- words  of  Demosthenes, 
and  in  the  sweetness,  compass  and  power  of 
Cicero's  voice.  Similar  pains  are  taken  in  vocal 
culture,  and  similar  results  are  obtained  by  the 
great  singers  and  tragedians  of  modern  times. 

4.  Modern  neglect  of  vocal  culture  for  public  speak- 
ing is  inexcusable. 

In  consequence  of  this  neglect  it  is  a  rare  thins 
to  hear  a  public  speaker  with  a  voice  of  great  pur 
ity,  compass  and  power.  And  this  in  clergymen 
especially,  is  the  more  inexcusable,  because  thej 
have  to  rely  upon  the  same  instrument,  namely,  that 
of  oral  speech,  which  was  so  assiduously  cultivated 
by  the   ancient   orators,  for   infinitely  higher   and 


The  Vocal  Organism.  183 

liolier  purposes  than  were  ever  conceived  of  eithei 
by  Cicero  or  Demosthenes. 

{  98.  Some  knowledge  of  the  vocal  organism  is  essential  to 
the  greatest  success  in  the  culture  of  the  voice. 

Some  general  acquaintance  with  the  physiological 
structure  and  functions  of  the  vocal  organs,  is  found 
by  experience  to  be  a  great  help  in  elocutionary 
training.  We  might  expect  that  this  would  be  so, 
for  such  reasons  as  the  following. 

1.  Many  of  the  organs  are  strictly  voluntary. 

A  large  class  of  these  organs  are  immediately 
under  the  control  of  the  will.  Such  e.  g.  are  the  lips, 
tongue,  and  breathing  muscles.  Some  knowledge 
of  these,  in  their  more  important  functions,  is  of 
great  utility.  For  one  of  the  most  common  and 
fruitful  causes  of  poor  speaking,  is  that  these  organs 
either  have  never  been  reduced  under  the  complete 
and  facile  control  of  the  will,  or  that  this  control 
has  become  impaired,  or  well-nigh  lost,  from  careless 
or  slovenly  habits.  Hence,  in  order  to  attain,  or  to 
recover  such  control,  it  is  found  necessary  that  the 
attention  of  the  student,  in  his  exercises,  should  be 
directed  to  their  functions  and  modes  of  operation, 
that  the  power  of  his  will  may  be  brought  to  bear 
immediately  upon  them. 

2.  Many  other  of  tlvese  organs  are  semi-voluntary. 
It  is  difficult  to  impart  the  necessary  information 

,ith  respect  to  the  voluntary  organs,  without  tak- 
ing into  view  some  of  the  more  important  of  those 
which  are  semi- voluntary.     These  are  such  as  the 


184  The  Elements  of  Power. 

soft  palate,  and  the  vocal  chords,  which  perform 
their  functions  in  speaking  in  part  according  to 
vital  laws,  to  a  certain  extent  like  digestion  and 
nutrition ;  which,  indeed,  never  operate  better  thar 
when  the  whole  physiological  process  is  unknown. 
Yet  even  in  the  case  of  digestion,  where  it  has  be- 
come impaired,  the  knowledge  of  its  laws  is  found 
to  aid  in  its  restoration.  Similar  aid,  but  much 
greater  in  degree,  do  we  find  in  the  knowledge  of 
the  structure  and  functions  of  the  semi-voluntary 
organs  of  speech,  which,  though  not  immediately, 
are  yet  mediately  and  indirectly  under  the  control 
of  the  wilL  These  organs  are  put  in  operation  by 
acts  of  the  will,  directed  not  immediately  upon 
them,  but  upon  the  utterance  of  the  sound,  or  the 
speaking  of  the  word,  which  is  in  the  mind.  When 
such  a  volition  is  put  forth,  they  instinctively  respond 
to  the  action  of  the  will,  thus  assuming  the  posi- 
tions, and  performing  the  actions,  which  the  word 
or  sound  requires,  although  their  functions  and 
operations,  and  even  their  existence,  may  be  un- 
known to  the  speaker.  But  even  this  instinctive 
action  of  the  semi-voluntary  organs  is  aided,  in  no 
small  degree,  especially  where  it  is  imperfect,  by  a 
competent  knowledge  of  their  structure  and  func- 
tions. Experience  fully  verifies  this  fact,  however 
difficult  of  explanation  it  may  be. 

3.  A  minute  acquaintance  with  the  physiology  of  the 
organs  is  not  required. 

It  seems  to  have  been  supposed  by  some  authors, 
that  a  minute  and  technical  knowledge  of  the  phy- 


The  Vocal  Organism.  185 

Biology  of  all  the  vocal  organs,  was  in  lispensable  to 
successful  training  and  practice  in  elocution.  But 
Liat  this  is  not  the  case,  is  proved  by  the  facility 
with  which  we  learn  to  speak  in  our  earliest  child- 
hood, and  by  the  unquestionable  success  of  the  an- 
cient phonasci,  who  can  hardly  be  supposed  to  have 
had  much  acquaintance  with  this  department  of 
modern  science. 

§  99.  The  principal  vocal  organs  are  the  diaphragm,  the 
lungs,  the  bronchial  tubes,  the  trachea,  the  larynx,  the 
vocal  chords,  the  mouth,  and  the  ear. 

A  complete  analysis  would  exhibit  more  than 
thirty  distinct  organs,  each  of  which  performs  im- 
portant functions  in  the  speaking  of  every  word. 
These  here  enumerated,  however,  are  the  principal 
ones,  and  the  exposition  of  them  will  suffice  to  im- 
part the  necessary  information  in  the  training  and 
practico  of  elocution.  The  subject  is  one  of  con- 
siderable difficulty,  upon  which  physiologists  have 
not  come  to  a  perfect  agreement  among  themselves, 
and  to  them  the  student  is  referred  for  a  more  full 
and  detailed  exposition  of  the  vocal  organism. 

$  100.  The  diaphragm  Is  an  elastic  muscle  of  the  abdomen, 
one  of  the  principal  organs  of  breathing,  and  capable  of 
being  brought  under  complete  voluntary  control* 

1 .  The  diaphragm  is  the  lowest  in  position  of  aU  the 
vocal  organs. 

This  organ  is  a  very  elastic  muscle  which  divides 
the  stomach  below  from  the  lungs  above.  Hence  it 
has  been  called,  "  the  roof  of  the  stomach,  and  tho 
floor  of  the  lungs." 


186  The  Elements  uf  Poweb. 

2.  Its  principal  vocal/unction  is  that  of  expanding 
arid  contracting  the  lungs  in  respiration. 

This  functiDn  it  shares  with  the  pectoral  muscles, 
not  necessary  to  be  described  here.  When  the  dia- 
phragm is  feeble,  the  speaker  is  incapable  of  draw- 
ing in  a  full  breath,  and  of  expelling  it  again  with 
adequate  force.  When  it  is  not  under  perfect  vol- 
untary control,  he  is  unable  properly  to  economize 
his  breath ;  whence  impurity  of  tone,  unnecessary 
fatigue,  and  exhaustion  in  speaking.  When  it  is 
fully  developed,  and  under  good  control,  neither 
breath  nor  voice  will  commonly  be  found  wanting. 

3.  It  is  capable  of  great  development,  and  of  being 
brought  under  perfect  control. 

That  this  organ  is  capable  of  being  brought  under 
perfect  voluntary  control,  any  one  may  perceive  for 
himself,  by  voluntarily  distending  and  contracting 
the  abdomen,  without  allowing  the  air  to  enter  or 
escape  from  the  lungs.  But  apart  from  the  exer- 
cise which  Elocution  prescribes  for  this  object,  this 
control  of  the  muscle  is  commonly  very  imperfect. 
It  is  also  capable  of  great  development  by  the 
proper  exercises,  f  jr  want  of  which  it  is  often  very 
feeble. 

4.  The  exercise  required  is  that  of  expanding  and 
contracting  the  muscle  by  the  direct  action  of  the  u>W.. 

The  object  of  this  exercise  is  to  develop  the  organ 
in  size  and  strength,  arid  to  bring  it  under  the  most 
perfect  control  of  the  will.  The  exercise  should  be 
performed,  sometimes  whilst  holding  the  breath 
at  other  times  whilst  drawing  in  and  expelling  11; 


The  Vocal  Organism.  187 

uow,  as  slowly  and  equably  as  possible,  in  order  to 
obtain  the  utmost  length  or  duration  of  each  respira- 
tion— again,  more  and  more  rapidly  and  forcibly,  in 
order  to  obtain  the  greatest  possible  force  of  breath- 
ing. These  exercises  should  be  performed  once  or 
Iwice  a  day,  for  a  half  or  a  quarter  of  an  hour  at 
a  time,  with  the  waist  free  from  stricture,  the  cloth- 
ing loose,  and  the  stomach  empty,  or  but  little  dis- 
tended with  food.  From  such  exercises,  the  waist 
soon  begins  to  increase  in  size,  and  this  increase 
measures  the  development  and  increased  power  of 
the  diaphragm,  and  other  breathing  organs.  We 
see  from  this,  that  hardly  any  more  effectual  means 
for  injuring  their  voices  could  be  devised,  than  the 
tight  lacing  of  the  ladies. 

4 
§  101.   The  lungs  depend  for  their  power  as  a  vocal  organ 
upon  the  quantity  of  breath  which  they  are  capable  of 
receiving. 

1.  The  lungs  are  composed  of  hollow  cells  for  contain- 
ing the  breath. 

This  organ  is  the  next  in  order  above  the  dia- 
phragm. It  consists  of  two  lobes,  which  are  com- 
posed of  a  vast  multitude  of  vesicles,  or  little  hollow 
cells,  into  which  the  breath  pours  when  the  chest  is 
expanded,  and  from  which  it  is  expelled  when  the 
chest  is  contracted,  by  the  expansive  and  contrac- 
tile action  of  the  diaphragm  and  pectoral  muscles. 
The  greater  or  less  quantity  of  breath  which  the 
lungs  are  capable  of  containing,  is,  then,  othei 
things  being  equal,  the  measure  of  their  power  as  a 
vocal  organ.     Large  and  capacious  luugs,  therefore, 


v' 


188  The  Elements  of  Power. 

as  commonly  indicated  by  a  broad  and  full  chest, 
are  a  grand  desideratum  for  the  public  speaker ;  a* 
a  narrow  chest  and  small  lungs  are  extremely  un 
favorable. 

2.  The  lungs  are  capable  of  great  development. 

The  reason  of  this  is  that  a  considerable  propor- 
tion of  the  air  cells,  of  which  they  are  composed, 
are  not,  commonly,  even  in  perfectly  healthy  per- 
sons, brought  into  use ;  that  is,  they  are  not  ex- 
panded or  filled  with  air  in  respiration,  but  they  he 
in  a  collapsed  state ;  and  those,  moreover,  which  are 
utilized,  are  not  expanded  to  their  utmost  capacity. 
Now,  by  the  proper  exercises,  the  former  class  are 
brought  into  use,  and  the  latter  are  increased  in 
size  and  capacity. 

3.  The  exercise  required  for  the  development  of  this 
organ,  consists  in  inhaling  the  largest  possible  draughts 
of  pure  air. 

This  exercise  should  be  performed  whilst  standing 
in  an  upright  position,  or  leaning  back  and  thrust- 
ing out  the  chest;  also,  whilst  walking,  running,  and 
declaiming  out  of  doors.  In  this  way  the  girth  of  the 
chest  is  much  increased  ;  by  which  is  measured  the 
increase  in  number  and  capacity  of  the  utilized  air 
cells,  and  the  development  of  this  organ,  together 
with  the  breathing  apparatus. 

\  102.  The  bronchial  tubes  and  the  trachea  are  the  pipes 
which  convey  the  breath  to  and  from  the  lnnars.  and  give 
resonance  to  the  voice. 

1.   These  organs  are  shaped  like  an  inverted  tree. 
They   are    next    in  position    above    the    lungs. 


The  Vocal  Okganism.  180 

Taken  together  with  the  larynx,  the  next  to  be  con- 
sidered, they  constitute  what  is  called  the  windpipe, 
which  resembles,  in  its  external  form,  an  inverted 
tree.  The  bronchial  tubes  are  the  inverted  twigs 
md  branches ;  the  trachea  is  the  trunk,  and  the 
larynx,  the  upturned  root.  The  bronchia  are  a 
great  number  of  little  air-pipes,  whose  lower  ex- 
tremities, the  tips  of  the  twigs,  are  inserted  into  the 
upper  surface  of  the  lungs.  These  tubes,  as  they 
ascend,  are  all  brought  together  so  as  to  form  two 
principal  branches,  which,  as  they  continue  to  as- 
cend, are  finally  consolidated  in  one  main  or  trunk. 
This  is  the  trachea,  which  ascends  through  the  neck 
to  the  throat,  and  terminates  in  the  larynx,  the  root 
of  the  inverted  tree. 

2.  These  organs  have  two  vocal  functions,  that  of  air- 
pipes,  and  tliat  of  resonant  cavities. 

Both  of  these  functions  are  of  the  greatest  im- 
portance. The  first  is  that  of  conveying  the  breath 
to  and  from  the  lungs  and  the  mouth,  the  second 
is  that  of  giving  resonance  to  the  lower  tones  of  the 
voice.  This  resonance,  or  re-echoing  of  the  sound, 
in  the  cavities  of  these  organs,  is  that  which  gives 
their  peculiar  character  and  force  to  the  low  tones, 
jy,  as  they  are  often  called,  the  chest  tones  of  the 
\roice.  Hence  the  larger  and  more  capacious  these 
organs,  the  greater  the  depth,  fullness  and  volume 
<  i  the  vocal  sounds  in  speaking. 

3.  The  exercises  for  their  development  are  tlie  same 
as  those  prescribed  for  the  diaphragm  and  the  lungs 
logetlier  with  that  of  sounding  the  low  tones. 


190  The  Elements  of  Power. 

These  organs  are  very  liable  to  "become  obstructed 
by  secretions  from  colds  and  bronchial  diseases, 
which  soon  destroy  the  powers  of  the  voice  for  pul> 
lie  speaking.  In  order  to  guard  them  from  such 
injuries,  and  to  develop  them  to  their  greatest  pos- 
sible capacity  of  resonance,  they  should  be  much 
exercised  in  breathing  large  draughts  of  pure  air, 
and  in  sounding  the  lower  and  lowest  tones  ol 
the  voice.  In  this  latter  exercise,  however,  ex- 
treme care  is  necessary  not  to  overstrain  the 
organs;  otherwise  the  voice  may  be  irreparably 
spoiled.  Moderately  exercised  as  above,  these  organs 
rapidly  attain  a  great  increase  of  their  capacity  and 
power.  Such  exercise,  moreover,  will  often  cure  in- 
veterate bronchitis,  which  is  caused  by  inflammation 
of  the  tubes,  when  all  other  remedies  have  failed. 

§  103.  The  larynx  and  vocal  chords  are  the  organs  for  gen- 
erating the  sound  of  the  voice. 

1.  The  larynx  is  a  beU4ike  cavity,  in  which  the 
sound  of  the  voice  is  generated. 

The  position  of  this  organ  is  that  of  the  root  of 
the  inverted  tree,  of  which  the  trachea  is  the  trunk, 
and  the  bronchia  are  the  branches.  It  is  formed 
by  an  expansion  of  the  trachea,  and  causes  that  pro- 
tuberance in  the  throat  which  is  caUed  "  Adam's  ap- 
ple." One  of  its  principal  vocal  functions  is  that  oi 
resonance. 

2.  Tlue  vocal  chords  are  the  organ  by  which  the 
sound  is  generated. 

The  larynx  is  crossed  about  the  middle  of  its  bell- 
like  cavity,  by  two  parallel  muscular  chords,  the 


The  Vocal  Oroamsm.  191 

cfu/rdcz  vocales,  the  extremities  of  which  are  fastened 
to  its  sides,  and  which  are  capable  of  being  length- 
ened or  shortened,  with  increase  or  diminution  oi 
theii  tension,  by  the  muscular  action  of  the  organ. 
Those  chords  are  made  to  vibrate  in  unison  by  the 
oreath,  as  it  is  expelled  from  the  lungs ;  and  by 
these  vibrations  the  breath  is  converted  into  sound. 
Thus  the  sound  of  the  voice  is  generated.  The  con- 
trivance is  precisely  similar  to  that  of  a  double- 
stringed  iEolian  harp.  The  sounds  thus  produced 
derive  their  peculiar  human  character  from  the  res- 
onance which  takes  place  in  the  bell  of  the  larynx, 
also  in  the  windpipe,  mouth,  and  cavities  of  the 
nostrils. 

3.  The  force  or  loudness  of  the  tound  depends  chiefly 
upon  the  amplitude  or  breadth  of  the  vibrations. 

When  the  breath  is  expelled  from  the  lungs  with 
greater  or  less  force,  it  causes  the  vocal  chords  to 
vibrate  through  a  greater  or  less  breadth ;  and 
these  vibrations,  according  to  their  amplitude,  pro- 
duce a  sound  of  greater  or  less  force  or  loudness. 
Hence  the  loudness  of  sound  of  which  the  voice  is 
capable,  depends  ultimately  upon  the  strength  of 
the  diaphragm  and  pectoral  muscles,  by  which  the 
breath  is  expelled.  It  depends  also  in  no  inconsid- 
erable degree  upon  the  size  of  the  resonant  cavities, 
inasmuch  as  the  same  concussion  will  produce  a 
louder  sound  in  a  large  bell,  than  it  will  in  a  small 
one. 

4.  The  pitch  of  the  sound  depends  upon  the  numb* 
of  vibrations  in  a  given  time. 


192  The  Elements  cp  Power. 

The  vocal  chords  are  capable  of  being  tightened 
or  relaxed  by  the  muscular  action  of  the  larynx; 
thus  the  number  of  vibrations  in  a  given  time  is 
increased  or  diminished,  and  the  sound  thereby 
produced,  is  made  either  higher  or  lower  in  pitch. 
The  chords  in  women  and  children  are  normally 
about  a  third  shorter  than  in  men ;  and  whilst  the 
common  range  of  the  human  voice  is  about  three 
octaves,  the  pitch  of  the  child's,  and  of  the  female 
voice,  is  an  octave  higher  than  that  of  the  adult 
male.  The  lowest  tone  which  the  ear  perceives,  is 
due  to  about  thirty  vibrations  in  a  second ;  in  the 
highest,  the  vibrations  run  up  to  as  many  as  four 
thousand. 

There  are  other  vocal  organs,  such  as  the  pharynx 
or  swallow,  immediately  connected  with  the  larynx, 
and  sharing,  to  a  certain  extent,  its  function  of  reso- 
nance, but  which  do  not  seem  to  require  any  exposi- 
tion. 

5.  Tlve  exercises  for  these  organs  are  the  same  here- 
after  prescribed  for  the  cultivation  of  the  ear  and  voice 
(§§105-4;  174). 

These  exercises  are  of  great  importance  to  pre- 
serve these  organs  in  a  healthy  state,  and,  especially, 
free  from  the  secretions  produced  by  the  various  af- 
fections of  cold.  For  among  other  effects  of  these 
is  that  of  aphonia,  or  voicelessness,  in  which  the 
person  is  unable  to  speak,  except  in  a  whisper,  and 
which  is  produced  by  the  inflammation  and  clogging 
of  the  vocal  chords,  so  that  they  cease  to  vi» 
brate. 


The  Vocal  Organism.  19$ 

§  104.  The  principal  vocal  functions  of  the  mouth  are  those 
of  resonance,  and  differentiations  of  the  volume  of  sound. 

1.  This   organ   includes  a   number  of  component 
organs. 

These  are  such  as  tho  hard  and  soft  palates,  the 
tongue,  teeth,  gums  and  lips,  together  with  the  cavi- 
ties of  the  nosftils  which  open  into  the  mouth.  But 
it  does  not  seem  necessary  to  give  a  particular  ex- 
position of  these  for  the  purposes  of  practical  elocu- 
tion. 

2.  The  mouth  gives  increased  and  variously  modi- 
fied resonance  to  the  vocal  sounds. 

The  cavity  of  the  mouth  is  a  continuation  and 
enlargement  of  the  bell  of  the  larynx ;  and  hence  it 
gives  a  greatly  increased  resonance  to  the  sounds 
which  are  generated  by  the  vibrations  of  the  vocal 
chords.  But  inasmuch  as  the  cavity  is  capable  of 
assuming  a  great  variety  of  shapes,  under  the  action 
of  the  will,  in  the  speaking  of  words,  this  resonance 
is  endlessly  modified ;  to  which  modifications  are 
due,  in  great  part,  the  different  qualities  of  the  hu- 
man voice.  For  the  best  performance  of  this  func- 
tion of  resonance,  the  mouth  requires  to  be  of  ade- 
quate size,  especially  the  cavities  about  the  root  of 
the  tongue,  and  in  the  arch  of  the  roof.  Not  unfre- 
quently  its  capacity  is  considerably  diminished  by  a 
disproportionate  size  of  the  soft  palate,  tonsils, 
tongue,  gums  and  teeth ;  in  which  case,  the  reson- 
ance is  liable  to  be  confused  and  feeble,  and  the 
qualities  of  the  voice  to  be  marred. 


194  The  Elements  of  Poweil 

3.  The  organs  of  the  mouth  differentiate  tJu  volum 
jf  sound. 

The  most  important  vocal  function  of  the  mouth 
organs,  is  that  of  differentiating  the  whole  volume 
of  sound,  produced  by  the  vocal  chords  in  then 
resonant  cavities  into  the  particular  and  variously 
modified  sounds  of  which  words  are  composed,  and 
which  belong  to  the  expression  of  different  senti- 
ments.    This  is  effected  in  two  ways. 

(1.)  By  modifications  in  size  and  shape  of  the  reson- 
ant cavities.  By  such  modifications  the  principal  re- 
sonance of  the  voice  is  thrown  into  different  parts  of 
the  cavities,  and  thus  different  qualities  are  imparted 
to  it.  The  nasal  quality  e.  g.  is  produced  by  throwing 
the  resonance  chiefly  into  the  nasal  cavities.  In  like 
manner,  the  peculiar  quality  of  the  high  or  acute 
sounds  depends,  in  great  part,  upon  the  fact  that 
these  have  their  characteristic  resonance  in  the 
upper  cavities  of  the  mouth  ;  whence  they  are  often 
called,  head  tones ;  whilst  the  peculiar  quality  of  the 
low  or  grave  sounds,  is  also  largely  due  to  then 
resonance,  for  the  most  part,  in  the  lower  cavities 
of  the  trachea  and  bronchial  tubes ;  whence  they 
are  called,  chest  tones.  This  different  resonance  is 
not,  indeed,  the  cause  of  their  difference  in  pitch 
(§  103 — 4),  but  it  contributes  materially  to  their  dif- 
ferentiation in  respect  to  those  qualities  by  which 
they  are  adapted  to  the  expression  of  different  sen- 
timents. 

(2r)  By  the  action  of  the  organs  of  articulation 


The  Vocal  Obganism.  195 

By  the  action  of  those  interior  and  exterior  organs 
of  the  mouth,  which  are  employed  in  articulation, 
namely,  the  soft  and  hard  palates,  the  tongue,  gums, 
teeth  and  lips,  the  volume  of  sound  is  still  further 
differentiated  into  those  elemental  sounds  of  human 
speech,  which  are  represented  by  the  letters  of  the 
alphabet,  and  which  compose  syllables  and  words. 
The  amazing  power  of  differentiation  possessed  by 
these  organs,  appears  from  the  fact  that  by  their 
action  tlie  volume  of  homogeneous  sound,  which 
streams  from  the  vocal  chords,  is  differentiated  into 
all  those  innumerable  particular  sounds,  and  com- 
binations of  sounds,  out  of  which  the  whole  struc- 
ture of  human  speech  is  built  up,  and  which  express 
all  the  thoughts,  and  shades  of  thought,  and  all  the 
infinitely  diversified  sentiments,  of  which  the  human 
mind  is  capable. 

4.  The  exercises  required  for  this  organ  should  aim 
to  develop  its  resonant  and  differentiating  capacities. 

There  is  no  doubt  about  it,  a  large  and  well  formed 
mouth  is  a  great  advantage  to  the  public  speaker. 
In  general,  the  larger  the  internal  cavities,  the  better 
the  resonance  of  the  voice.  Often,  however,  the  re- 
sonant capacities  are  not  half  utilized ;  and  they  are 
capable  of  considerable  development  by  the  con- 
scious effort  to  speak  with  a  full  voice.  The  or- 
gans of  differentiation  should  be  exercised  systemat- 
ically, for  the  purpose  of  bringing  them  under  the 
most  perfect  and  facile  control  of  the  will,  and  of 
obtaining  the  greatest  possible  precision  in  the  form- 
ation of  all  the  sounds  of  speech.     More  specific 


196  The  Elements  of  Power. 

directions  will  be  given  in  the  exercises  prescribed 
for  articulation  (§  114). 


§  105.  The  ear  is  the  organ  of  perception  and  discrimina- 
tion of  sounds. 


1.  Hearing  is  essential  to  speaking. 

The  importance  of  the  ear,  in  its  relations  to 
speech,  is  evinced  by  the  fact  that  persons  bora  deaf 
are  also  dumb.  This  statement  hardly  needs  qual- 
ification from  the  artificial,  feeble  and  confused  ar- 
ticulation which  such  persons,  with  laborious  effort 
and  instruction,  may  sometimes  acquire.  For  prop- 
erly we  learn  to  speak  in  no  other  way  than  by  imi- 
tating the  speaking  sounds  we  hear  from  others 
(§  12 — 3).  It  is  by  the  ear  alone  that  the  mind  acts 
in  the  perception,  and  discrimination  from  each 
other,  of  those  numberless  modifications  of  sound, 
of  which  the  speech  of  man  is  composed,  so  as  to 
enable  the  other  vocal  organs  to  reproduce  them  at 
pleasure. 

2.  TIw  functions  of  the  ear  in  speaking  are  the  same 
as  in  singing. 

The  excellences  and  defects  of  this  organ,  with 
respect  to  speaking  and  singing,  are  precisely  the 
same.  Its  chief  excellence  in  both  consists  in  fine- 
ness, or  keenness,  or  delicacy  of  discrimination  from 
each  other  of  the  different  sounds,  with  respect  to 
quality,  force,  pitch  and  time.  For  it  is  in  the  infi- 
nitely various  modifications  of  sound,  with  respect 
to  these  particulars,  that  both  speaking  and  singing 


The  Vocal  Organism.  197 

chiefly  consist.  To  these,  however,  must  be  aided 
articulation,  which  is  essential  in  speaking,  but  not 
absolutely  essential  in  singing.  Accurate  discrimi 
nation  of  sounds,  therefore,  is  at  least  as  indispensa 
ble  in  speaking  as  it  is  in  singing. 

3.  The  most  faulty  speaking  implies  the  discrimina 
tion  of  sounds. 

When  in  teaching  elocution  an  illustration  is 
drawn  from  music,  we  often  hear  from  the  pupil 
some  such  reply  as  this,  "  O,  I  know  nothing  ol 
music.  I  have  never  been  able  to  distinguish  one 
sound  from  another."  Now  this,  as  we  here  see,  is 
always  a  mistake ;  and  if  it  were  true  in  any  case, 
that  person  could  never  have  learned  to  speak. 
For  it  is  no  less  an  essential  function  of  the  ear  to 
discriminate,  than  it  is  to  perceive  sounds.  Let  the 
student  turn  his  attention  to  this  point,  and  he  will 
find  that  he  has  been  distinguishing  sounds  from 
each  other  all  his  life,  with  respect  to  all  those  mod- 
ifications of  them  which  enter  into  music,  except 
that  of  concord  or  harmony.  For  with  this  excep- 
tion, all  the  modifications  of  sound  which  belong  to 
music,  are  employed  in  speech,  and  can  be  repre- 
sented by  the  notation  of  the  musical  score  (§  3;  13 — 2), 

4.  The  training  and  practice  which  tlie  ear  require* 
&re  the  same  for  speaking  that  tJtey  are  for  singing. 

The  elementary  exercises  prescribed  by  the  teach- 
ers of  vocal  music,  are  the  best  possible  for  the 
training  of  the  ear,  as  also  for  the  development  of  the 
qualities  and  powers  of  the  voice,  for  public  speak- 
ing.    These  exercises,  moreover,  are  hardly  of  less 


198  The  Elements  of  Power. 

importance  in  the  one  case  than  in  the  other.  Fox 
one  of  the  main  causes  of  feebleness  in  delivery,  is 
that  the  ear  is  dull  by  nature,  or  has  become  sc 
from  inattention  and  careless  habits,  and  requires 
to  be  trained  up  to  discriminate  with  delicacy  and 
facility.  Many,  it  is  true,  fail  to  recognize  the  im- 
portance of  these  exercises,  from  the  fact  that  good 
speakers  may  never  have  learned  to  sing,  and  good 
singers  are  often  miserable  speakers.  But  it  must 
be  remembered  that  what  is  here  stated  and  en- 
forced, does  not  rest  upon  an  assumed  identity,  but 
upon  the  obvious  analogy,  between  these  kindred 
and  sister  arts,  and  upon  abundant  experience. 
These  exercises  should  be  continued  at  least  until 
the  student  is  able  to  ascend  and  descend  the  dia- 
tonic scale  with  accuracy,  and  to  distinguish  with 
facility  the  principal  intervals  of  the  second,  fifth 
and  eighth.  Even  without  this,  much  may  be  ac- 
complished in  elocution,  but  it  is  hardly  possible  tc 
attain  the  best  results ;  and  there  are  few  pjrsona 
whose  ears  are  so  dull  that  they  cannot  learn  to  dc 
all  that  is  here  required  with  very  little  troubio. 


CHAPTEE  m 

ABTICULATION. 

§  106.  Artbnlation  is  the  formation,  and  jointing  togethei 
into  syllables,  of  the  elementary  sounds  of  speech. 

Articulation  properly  includes  both  these  opera- 
tions. The  above  definition  is  strictly  according  to 
the  etymology  of  the  word,  which  is  derived  from  ar- 
twulits,  signifying  both  a  little  member,  and  a  little 
joint.  The  articulating  organs  come  into  full  play, 
both  in  the  formation  of  the  elements,  and  in  joint- 
ing them  together  into  syllables ;  as  -also  in  forming 
syllables  into  words  ;  but  their  use  in  this  last  case 
belongs  under  the  head  of  pronunciation,  of  which 
articulation,  strictly  taken,  is  the  fundamental  and 
controlling  element. 


§  107.  The  first  division  of  the  elementary  sounds  is  that  o. 
vowels,  semi-vowels,  and  consonants. 

1.  Analysis  of  tJie  sounds  is  indispensable. 

In  order  properly  to  exhibit  articulation  as  ac 
element  of  power  in  delivery,  and  to  afford  the  mosl 
effectual  aid  in  acquiring  it,  we  shall  find  it  neces- 


200  The  Elements  of  Power. 

sary  to  analyze  and  classify  the  elementary  sounds 
of  the  English  language,  and  to  determine  precisely 
by  what  organs,  and  by  what  position  or  action  ol 
these  organs,  they  are  formed.  Such  classifications 
may  be  made  in  different  ways,  with  some  special 
utility  belonging  to  each.  The  first  and  most  com- 
mon of  these  is  that  which  is  here  given. 

2.  The  principle  of  this  division  is  thai  of  vocality. 
The  word,vowel,  vocalis  in  Latin,  signifies  a  vocal 

sound,  that  is,  a  sound  made  by  simply  vocalizing 
the  breath.  The  vowels,  therefore,  are  those  element- 
ary sounds  which  have  the  highest  degree  of  vocal- 
ity, or  a  perfect  vocality.  The  semi-vowels,  accord- 
ing to  the  signification  of  the  word,  are  those  which 
have  a  lower  degree  of  vocality.  The  consonants 
are  those  of  such  feeble  vocality  that  they  are  sup- 
posed in  this  nomenclature,  though  falsely,  as  we 
shall  see,  to  be  incapable  of  articulation  by  them- 
selves, and  to  require  for  this  purpose  to  be  joined 
with  vowels. 

3.  This  division  is  neither  acru,o*e  nor  complete. 
No  strict  definition  caD  be  given  of  any  of  these 

classes ;  they  are  not  distinguished  from  each  other 
by  any  sharp  dividing  lines,  or  exclusive  differ- 
ential characteristics.  This  is  evident  from  the 
name,  semi- vowels,  denoting  a  class  of  sounds 
which  are  neither  one  thing  nor  the  other,  but  a 
mixture  of  vowel  and  consonant.  The  word,  con- 
sonant, is  altogether  objectionable,  not  only  be- 
cause it  includes,  as  we  shall  see,  sounds  which  are 
fundamentally  different,  but  also  because  it  intimates 


Articulation.  201 

that  such  sounds  cannot  be  formed  or  articulated 
by  themselves,  which  certainly  is  not  true.  In  ad- 
dition  to  this,  a  number  of  the  sounds  classed  as 
vowels  are  in  reality  diphthongs,  or  double  vowels; 
whilst  several  of  those  commonly  represented  as 
diphthongs,  are  nothing  but  simple  vowels.  Not- 
withstanding, this  classification  is  often  convenient, 
and  cannot  be  wholly  dispensed  with. 

)  108.  A  rigorous  classification  of  the  elements  is  impossible, 
for  the  reason  that  they  are  a  series  from  the  greatest 
openness  to  perfect  closure  of  the  organs. 

It  would  seem  that  a  perfect  classification  of  the 
elementary  sounds  upon  the  above,  or  any  other 
one  principle,  is  not  possible.  The  reason  of  this  is 
that  they  constitute  an  irregular  and  complicated 
series,  from  the  greatest  openness  to  the  most  per- 
fect closure  of  the  organs  of  articulation.  The 
sounds  which  are  made  with  these  organs  in  the 
most  open  position,  naturally  have  the  highest  de- 
gree of  vocality ;  those  with  the  organs  brought 
nearer  together,  a  less  degree  of  vocality ;  and 
those  with  the  organs  closed,  the  least,  or  none  at 
all.  But  this  series  is  irregular  and  involved,  so 
that  the  sounds  cannot  be  arranged  in  an  unbroken 
order.  It  is  easy,  indeed,  to  fix  the  extremes.  On 
the  side  of  the  greatest  openness  and  strongest  vo- 
cality, we  have  the  sound  of  a  as  in  far ;  and  on 
that  of  perfect  closure,  those  of  b  and  p.  But 
these  last  two  letters  represent  two  wholly  different 
classes  of  sounds,  of  which  the  former  have  an  im- 


202  The  Elements  of  Poweb. 

pei  feet  vocality,  the  latter  none  at  all.  The  ex- 
tremes in  the  vowel  series  are,  on  the  one  hand,  a 
as  in  far,  and  on  the  other  i  as  in  pin.  All  the  other 
vowels  and  diphthongs  have  less  vocalitj  than  the 
former,  and  greater  than  the  latter ;  but  a  as  in  all  is 
formed  by  an  openness  very  different  in  the  position 
of  the  organs,  from  that  of  i  as  in  pine.  After  these 
come  the  sounds  which  are  formed  by  the  organs  in 
near  approach,  but  not  in  actual  contact ;  such  as  y, 
w,  r  ;  next,  those  formed  by  a  partial  contact,  such 
s,  z,  v,  sh,  th ;  and  finally  those  formed  by  perfect 
closure  of  the  organs,  such  as  m,  1,  g,  k,  d,  t,  b,  p. 
Now  there  is  no  point  in  this  irregular  gradation 
from  the  greatest  openness  to  perfect  closure,  at 
which  the  series  can  be  divided  with  rigorous  pre- 
cision. This  difficulty  cannot  be  entirely  overcome, 
but  there  are  other  classifications  of  much  greater 
practical  utility  than  the  preceding. 

§  109.  The  second  division  of  the  elements  is  that  of  tonic, 
snbtonic,  and  atonic  sounds. 

This  classification,  upon  the  same  principle,  is 
more  nearly  accurate  and  complete,  and  of  fai 
greater  practical  utility,  than  the  former.  The 
principle  is  the  same  also  with  that  of  the  division 
into  surd  and  sonant,  first  established  by  the  native 
Sanskrit  grammarians,  and  now  of  universal  applica- 
tion in  linguistic  science.  The  tonics  correspond  to 
the  vowels  and  diphthongs,  and  consequently  have 
tt  e  highest  degree  of  vocality.  The  subton  *<cs  have 
a  lower  degree  of  vocality,  and  include  the  semi- 


Articulation.  20b 

towels,  together  with  all  the  consonants  which  have 
any  vocality  at  all.  They  are  the  sounds  represent- 
ed by  the  following  signs,  y,  w,  wh,  r,  1,  z  as  in  zone, 
and  as  in  azure,  th  as  in  then,  j,  v,  ng,  nk,  n,  m,  g 
d;  b.  Both  the  tonics  and  subtonics  are  included  ic 
the  class  of  sonants.  The  atonies  are  altogether 
destitute  of  vocality ;  they  are  mere  articulations 
which  check  or  stop  off  the  whispering  breath. 
They  correspond  to  the  class  of  surds,  and  are  as 
follows :  h,  th  as  in  thin,  sh,  s  as  in  see,  f.  k,  t,  p. 
We  shall  find  that  these  distinctions  will  enable  us 
to  simplify  the  rules  of  English  pronunciation,  and 
to  explain  a  great  number  of  its  apparent  anomalies. 


§  110.  The  subtonics  and  atonies  are  again  divided  into  hard, 
soft  and  feeble  checks. 

The  principle  of  this  division  is  the  degree  in 
which  the  sound  or  breath  is  checked  by  the  organs 
of  articulation.  From  the  fact  that  all  these  sounds 
are  more  or  less  checked,  as  to  the  outward  flow  of 
the  vocalized  or  non-vocalized  breath,  by  contact, 
or  a  near  approach  to  contact,  of  the  articulating 
organs,  it  is  found  necessary  to  classify  them  upon 
this  principle.  The  special  utility  of  this  classifica- 
tion is  that  it  directs  the  attention  of  the  student  to 
the  peculiar  checking  action  of  the  articulating  or- 
gans, and  thus  enables  him  to  obtain  a  more  perfect 
control  over  them,  in  the  performance  of  this  func- 
tion. The  feeble  checks  are  those  articulations  by 
which  the  sound  or  breath  is  checked  in  tbe  least 
degree,  either  by  a  very  slight  contact,  or  a  neai 


2u4  The  Elements  of  Power. 

approach  to  contact,  of  trie  articulatirg  organs 
They  are  the  sounds  represented  by  y,  w.  wh,  r,  1,  h. 
The  soft  checks  are  those  in  which  the  contact  is 
soft  or  partial,  yet  such  as  to  restrain  the  sound  ct 
breath  in  a  sensible  manner.  They  are  represented 
by  z  as  in  azure  and  zone,  th  in  then  and  thin,  j,  v, 
sh,  s  in  see,  f.  The  hard  checks  are  those  in  which 
the  outflow  of  the  sound  or  breath  through  the 
mouth  is  entirely  stopped  off  by  the  hard  or  firm 
contact  of  the  organs.  They  are  represented  by  ng, 
nk,  n,  m,  g,  d,  b,  k,  t,  p. 

§  111.  The  subtonic  hard  checks  are  divided  into  nasals  and 
subnasals. 

The  principle  of  this  division  is  the  degree  in 
which  the  resonance  of  the  sound  is  thrown  into 
the  nasal  cavities.  These  sounds  are  all  properly 
hard  checks,  because  the  outflow  of  the  sound 
through  the  mouth  is  perfectly  stopped  off  by  a 
hard  contact  of  the  mouth  organs.  But  in  the  na- 
sals, the  resonance  of  the  sound  takes  place  along 
the  whole  line  of  the  nasal  cavities.  They  are  rep- 
resented by  ng,  nk,  n,  m.  In  the  subnasals,  the  re- 
sonance is  in  the  back  cavities  of  the  nostrils,  where 
these  open  into  the  mouth.  They  are  represented 
by  g,  d,  b. 

$  112.  The  number  of  the  elementary  sounds  in  the  English 
language  is  forty-nye. 

The  number  of  these  sounds  is  estimated  by  Prof 
Day  at  thirty-two,  by  Dr.  Rush,  at  thirty-five,  and 


Articulation. 


205 


by  Mr.  William  Russell,  a  practical  elocutionist  and 
teacher  of  the  art,  at  forty-three.  But  none  of  these 
estimates  is  anything  more  than  an  approximation. 
In  fact  the  elementary  sounds  may  be  regarded  as 
more  or  less  numerous,  according  as  they  are  more 
or  less  minutely  analyzed.  For  the  shades  of  differ- 
ence, especially  between  some  of  the  vowels,  are 
often  extremely  fine,  so  that  it  is  a  nice  question 
whether  they  are  to  be  regarded  as  the  same,  or  dif- 
ferent; whether  e.  g.  a  as  in  all,  and  o  as  in  nor, 
whether  i  as  in  pin,  and  y  as  in  folly,  are  distinguish- 
able or  not.  The  number  here  given  is  preferred 
not  so  much  for  its  rigorous  accuracy,  as  for  its  supe- 
rior utility  in  the  training  and  practice  which  Elocu- 
tion prescribes.  There  are,  moreover,  certain  tran- 
sitional sounds,  which  enter  into  the  formation  of 
syllables  and  words,  and  which  will  require  consid- 
eration hereafter  (§  148 — 4).  The  elements,  as  ar- 
ranged in  the  table  below,  are  represented  by  the 
italics. 


Table  or 

THE 

Elements. 

TONICS. 

SUB-TONICS. 

ATONIC*. 

arm 

eve 

i 

3 

(yet 

sin# 

B 

F.C.  •{  /iay 

all 

not 

way 

blink 

1 

ask 
hat 

nor 
old 

o 

1 

when 
ray 

1, 

nay 
may 

00 

■ 

5" 

shun 
see 

care 
fate 

hut 
full 

£ 

Jay 
r  azure 

i 

day 

§ 

s 

fee 

pine 

rule 

1 

zone 

o%y     j 

i 

S  Ikej 
|    tell 

pin 

use 

8 

then 

err 

oil 

1 

j°7 

|[Mr 

pet 

out 

vile 

I 

20 

17 

8          1 

z06  The  Elements  of  Powek. 

$  113.  The  elementary  sounds  are  all  capable  ol  lolimtarj 
modification. 

The  foregoing  anylysis  does  not  pretend  to  ex- 
hibit  all  the  differences   between  the   element  ar) 
sounds,   for    they    are    all    capable   of    voluntary 
modification.     Thus  the  tonics  and  subtonics  may 
all  be  deprived  of  their   vocality,  and  reduced  tc 
atonies,  by  voluntarily  stopping  off  the  vibrations  of 
the  vocal  chords ;  in  other  words,  they  may  all  be 
articulated  in  non-vocal,  or  whispering  breath.     If 
this  were  not  so,  it  would  be  impossible  to  speak  in 
a  whisper.     Again,  there  are  other  differences  be- 
tween subtonics  and  atonies,  besides  that  of  vocal- 
ity ;  otherwise  it  would  be  impossible  to  distinguish 
the  cognates,  b,  p, — d,  t, — g,  k,  when  uttered  in  a 
whisper,  from  each  other.     For  the  position  of  the 
organs  in  the  formation  of  each  pair  of  these  cog- 
nates, is  very  nearly,  if  not  precisely  the  same.     So 
also  the  hard,  soft  and  feeble  checks  may  be,  and 
often  require  to  be   articulated  in  a  more   or  less 
hard,  soft,  or  feeble  manner;  the  breath,  whether 
vocalized  or  not,  requires  to  be  expelled  more   or 
less  forcibly,  and  the  organs  to  be  placed  in  con- 
tact, and  separated  again,  more   or  less   abruptly. 
This  voluntary  modification  of  the  elements  is  of 
the  utmost  importance,  in  order  to  express  all  the 
distinctions  of  thought,  and  all  the  varieties  and 
shades  of  the  gentle,  tender,  elevated  and  passion 
ate,  or  violent  emotions. 


Articulation.  20T 

*  F 14.  The  proper  exercise  in  the  eleuiuit-ary  sounds  c  >iisisl* 
in  forming:  them  with  the  ntnust  precision,  Imt.i  sepa- 
rately, and  in  their  easier  and  more  difficult  combina- 
tions. 

1.  Tlvese  exercises  are  of  great  importance. 

The  student  should  not  fail  to  exercise  his  articulat- 
ing organs  in  the  formation  of  all  the  elementary 
sounds.  These  exercises  should  be  continued  until 
the  breathing,  vocalizing  and  checking  organs  are 
brought  under  perfect  control,  and  to  the  highest 
degree  of  efficiency  and  facility,  in  the  formation  of 
every  sound. 

2.  TJie  attention  should  be  directed  to  the  position 
and  action  of  tJie  organs  in  tJw  formation  of  each  sound. 

For  this  purpose,  the  aid  of  a  teacher  should  be 
secured, if  possible,  to  explain  the  position  and  ac- 
tion of  the  organs  in  each  case,  and  to  exemplify  the 
correct  sounds,  together  with  the  student's  errors 
and  defects.  Where  a  teacher  canot  bs  had,  refer- 
ence should  be  made  to  the  description  of  the  posi- 
tion and  action  of  the  organs  in  the  formation  of 
each  sound,  which  is  giv^D  under  t'ie  head  of  pro- 
nunciation. For  we  find  by  experience  that  where 
all  other  attempts  fail  to  correct  faults  in  articula- 
tion, this  method  commonly  succeeds. 

3.  The  exercises  should  be  upon  the  sounds  m  their 
several  classes,  according  to  the  preceding  analysis. 

The  common  rule,  "Take  care  of  your  conso- 
nants, and  the  vowels  will  take  care  of  themselves," 
though  it  expresses  an  important  truth,  is  not  alto- 
gether a  safe  one.     The  student  should  be  carefu/ 


208  The  Elements  of  Poweb. 

to  practice  on  every  sound  by  itself,  espicially  th« 
semi-vowels  and  consonants  without  vowels  at- 
tached, paying  no  attention  to  the  notion,  that  a 
consonant  cannot  be  articulatad  without  the  aid  oi 
a  vowel,  which  groundless  notion  it  is  difficult  to 
imagine  how  people  with  ears  should  ever  have  en- 
tertained. 

(1.)  The  tonics  should  be  carefully  rendered  with 
the  precise  distinctions  between  those  that  are  most 
nearly  alike. 

(2.)  The  subtonics  should  be  formed  with  as  full  a 
vocality  as  can  be  given  them. 

(3.)  The  atonies,  with  no  vocality  at  all,  u  e.  with 
the  non-vocalized,  or  whispering  breath. 

(4.)  The  hard,  soft  and  feeble  checks  must  be  care- 
fully formed,  with  the  exact  position  and  action  of 
the  organs,  with  the  precise  degree  of  contact  re- 
quired by  each  class,  so  that  the  vocal  or  whisper- 
ing breath  may  be  perfectly  stopped  off,  or  partially, 
or  very  slightly  checked. 

(5.)  The  nasals  and  subnasals  require  to  be  prac  • 
tioed  on  with  special  reference  to  the  resonance  of 
the  voice  in  the  nasal  cavities,  and  to  the  different 
resonance  in  the  two  classes,  as  being  in  the  for- 
mer class  along  the  whole  line  of  these  cavities,  and 
in  the  latter,  confined  to  that  portion  of  them  where 
they  open  into  the  mouth. 

4.  Exercises  in  whispering  breath  are  of  great  im- 
portance. 

There  is  no  more  important  exercise  in  articula- 
tion than  that  which  consists  in  speaking  in  A 
whisper.     The  reason  is  that  thus  the  distinction  oi 


Articulation.  209 

vocality  and  non-vocality  is  eliminated,  and  the 
only  way  of  making  one's  self  understood,  is  by  the 
strength  and  precision  of  the  articulation.  The 
attempt  to  speak  in  a  whisper  to  persons  at  a  little 
distance  thus  brings  out  all  the  speaker's  articulat- 
ing powers. 

5.  Exercises  in  the  more  difficult  combinations  of 
the  elements. 

In  addition  to  the  above  exercises,  the  student 
should  practice  his  organs  in  the  more  difficult 
combinations  of  the  elementary  sounds,  repeating 
them  in  succession  as  rapidly  as  possible.  The  fol- 
lowing are  examples  of  such  difficulties. 

That  morning,  thou  that  slumbered'st  not  before, 
Nor  slept'st,  great  ocean,  laid'st  thy  waves  to  rest, 
And  hush'dst  thy  mighty  minstrelsy. 

But  the  best  possible  examples  for  this  purpose,  are 
those  with  which  children  amuse  themselves,  in 
practicing  and  gaining  control  over  their  articulat- 
ing organs,  such  as  the  following. 

Theophilus  Thistle,  the  thistle-sifter, 
Sifted  a  sieve  of  unsifted  thistles. 
If  Theophilus  Thistle,  the  thistle-sifter, 
Sifted  a  sieve  of  unsifted  thistles, 
Where  is  the  sieve  of  unsifted  thistles, 
That  Theophilus  Thistle,  the  thistle-sifter,  sifted? 

5  1 15.  A  syllable  consists  either  of  one  elementary  sound,  or 
of  several  combined. 

The  sound  which  is  represented  by  the  letter  fc, 
forms  a  perfect  syllable  by  itself  in  the  indefinite 
article  ;  on  the  other  hand,  the  word,  helm,  composed 


2J0  The  Elements  op  Powee. 

of  four  distinct  elementary  sounds,  is  yet  but  one 
syllable.  In  the  formation  of  syllables,  whether  oi 
single  elements,  or  of  many  thus  jointed  together, 
the  voice  obeys  certain  laws,  which  depend,  in  great 
part,  upon  the  nature  of  the  elements,  as  exhibited  in 
the  preceding  analysis.  These  laws  require  now  to 
be  unfolded. 

§  116.  A  syllable  is  an  articulate  sound  formed  by  a  single 
impulse  of  the  voice. 

It  is  the  distinctive  character  of  a  syllable,  that  it 
is  formed  by  a  single  impulse  or  movement  of  the 
voice.  This  is  equally  the  case  whether  the  syllable 
consist  of  a  single  elementary  sound,  as  a  in  aright, 
or  of  several  in  combination,  as  the  word,  strands, 
composed  of  seven  distinct  elements.  If  this  latter 
word  be  incorrectly  pronounced  in  two  syllables, 
str-ands,  as  such  words  often  are,  it  will  be  found 
that  it  takes  two  such  impulses.  This  characteriza- 
tion of  the  syllable  we  owe  to  Dr.  Rush. 


§117.  The  division  into  syllables  is  caused  sometimes  by  the 
strength  of  yocality  in  the  tonics,  sometimes  by  the  rela- 
tion of  different  elements  to  each  other,  and  sometimes  it 
is  arbitrary. 

A  great  deal  has  been  written  in  answer  to  the 
question,  what  causes  the  division  of  the  elements: 
into  syllables?  and  much  confusion  has  arisen  from 
the  attempt  to  reduce  this  phenomenon  to  one  cause. 
The  truth  is  that  there  are  at  least  three  surt 
causes,  which  operate  either  separately,  or  in  combi 
aation  with  each  other. 


AliTiCULATIOxN.  211 

1.  The  principal  cause  is  tlte  strength  of  vocality 
which  belongs  to  the  tonics. 

The  strength  of  vocality  in  the  tonics  is  such  that 
no  two  of  them  can  be  fully  sounded  with  a  single 
impulse  of  the  voice.  In  the  case  of  a  diphthong 
indeed,  two  of  the  tonics  are  blended  in  one,  and 
articulated  by  one  impulse  ;  but  this  is  done  by  with- 
holding from  the  latter  of  them  its  full  tonic  vocal- 
ity, and  making  it  coalesce  with  the  former.  If  the 
full  tonic  vocality  be  given  to  the  latter  tonic,  the 
diphthong  will  be  resolved,  and  two  syllables  will  be 
the  result.  Thus  oi  as  in  oil  is  a  diphthong ;  but  if 
the  full  tonic  vocality  be  given  to  i,  the  diphthong  is 
resolved  into  two  syllables,  and  articulated  with  a 
double  impulse  of  the  voice.  Hence  the  word,  navy, 
e.  g.  is  of  two  syllables,  and  cannot  be  of  more  or 
less,  because  it  contains  two  tonics,  and  no  more, 
each  with  its  full  tonic  vocality.  It  follows  from 
this  that  there  cannot  be  more  than  one  full  tonic 
in  one  syllable. 

2.  A  second  cause  is  the  relation  of  different  elements 
to  each  other. 

This  relation  is  often  such  that  no  single  impulse 
of  the  voice  can  be  made  to  comprehend  some  of  the 
elements  in  combination  with  others ;  in  other 
words,  the  change  of  position  of  the  organs,  in  pass 
ing  from  one  to  another,  is  often  so  great  as  to 
necessitate  the  closing  of  one  vocal  movement,  and 
the  commencing  of  another.  This  cause,  together 
with  the  preceding,  operates  in  the  case  of  the  word 
articulation,  e.  g.  which  is  of  five  syllables,  and  can 


212  The  Elements  of  Power. 

not  be  pronounced  in  less,  because  it  contains  just 
five  tonics  (io  of  the  last  syllable,  representing  u), 
and  because  the  relation  between  the  sounds  of  ar 
and  ti,  ti  and  cu,  cu  and  la,  la  and  tion  =  shun,  is 
such  that  no  two  of  them  can  be  joined  together  in 
a  single  phonetic  impulse.  This  cause  operates  on 
the  most  open  sounds,  i.  e.  those  which  are  made 
with  the  organs  in  the  mos-  open  position,  equally 
with  the  closest  sounds.  Thus  in  the  artificial  com- 
bination, i  o  e  u  a,  there  are  necessarily  just  as  many 
syllables  as  there  are  elementary  sounds,  because 
these  elements  are  all  tonics,  and  because  the  rela- 
tion between  them  in  juxtaposition,  is  such  that  no 
two  of  them  can  be  made  by  a  single  vocal  impulse 

3.   TJt£  division  into  syllables  'is  sometimes  arbitrary. 

This  is  the  case  in  such  words  as  higher,  flower, 
goer,  mower,  and  many  others,  which  may  be  pro- 
nounced correctly  in  two  syllables,  or  incorrectly  in 
one,  so  as  to  be  indistinguishable  in  sound  from 
hire,  flour,  gore,  more.  Accordingly  in  poetry,  they 
are  freely  used  as  one  or  two  syllables,  according  to 
the  requirement  of  the  metre.* 

*  It  is  with  no  little  regret  that  the  author  feels  obliged  to  differ  here,  and 
on  other  still  more  important  points,  from  that  eminent  scholar  and  phonolo- 
gist,  Prof.  Wm.  Whitney,  from  whose  masterly  criticisms  upon  the  Standard 
Alphabet  of  Prof.  Lepsius,  valuable  aid  has  been  derived  in  the  foregoing  analy- 
sis of  the  elementary  sounds.  Prof.  Whitney  maintains  (Trans.  Am.  Or.  So.  voL 
viii.  pp.  859-60)  that  the  above  character.zaticn  of  the  syllable,  as  an  articnlat* 
»ound  formed  by  a  single  impulse  of  the  voice,  "  is  not  of  the  slightest  value." 
"  Jr.-=t  as  much,"  he  says,  "  is  a  whole  word,  or  a  whole  sentence,  uttered  by  a 
single  impulse  of  the  voice."  The  true  reason  why  the  word  navy,  e.  g,  is  oi 
two  syllables,  he  says,  "is  clearly  this:  among  the  four  sounds  of  which  it  it 
composed,  there  are  two  which  are  of  so  much  more  open  position,  more  sono- 
rous and  continuablc,  than  the  others  with  which  they  are  connected,  thai  thej 
:aake  upon  the  ear  th*  impression  of  two  phonetic  Impulses."    But  this  iiupi  e* 


Articulation.  213 


$  118.  Every  syllable  is  composed  of  a  radical  and  a  vanish* 
ing  sound. 

We  are  indebted  to  Dr.  Rush  also  for  our  knowl- 
edge of  this  curious  fact.  The  commencement  oi 
every  syllable  is  its  radical,  and  the  close  is  its  van- 
ishing sound.  The  latter  naturally  rises  through  a 
whole  tone  of  the  musical  scale  above  the  former. 
Let  the  syllable,  fate,  e.  g.  be  spoken  without  emo- 

gion  is  fallacious,  because  "  the  distinction  of  syllables  is  primarily  made,  not  bj 
the  mouth  of  the  speaker,  but  by  the  ear  of  the  hearer." 

Comments. — 1.  The  learned  professor  teaches  us  here  that  the  distinction  oi 
syllables  depends  upon  the  juxtaposition  of  open  and  close  sounds.  Now  this 
is  probably  the  first  explanation  that  occurs  to  every  inquirer,  but  it  is  soon 
found  to  be  untenable.  Take,  e.  g.  the  combination  given  above,  i  o  e  u  a,  which 
includes  all  the  most  *'  open  '  and  "  sonorous  "  sounds  in  the  language,  and  it  ia 
found  impossible  to  articulate  them  in  a  less  number  of  syllables  than  there 
ire  elements.  But  if  Prof.  Whitney's  explanation  were  correct,  they  might  all 
be  articulated  as  one  syllable. 

2.  In  the  word  navy,  the  sounds, «  and  v,  are  just  as  "  continuable"  as  a  and 
y  ;  in  iact  they  are  all  alike  capable  of  indefinite  prolongation.  This  only  re- 
maining reason,  therefore,  can  have  nothing  to  do  with  the  distinction,  any 
more  than  those  which  are  expressed  in  the  words  "  open"  and  "  sonorous." 

3.  Why  should  the  two  syllables  of  the  word  navy  uniformly  "make  upon 
the  ear  the  impression  of  two  phonetic  impulses,"  if  there  be  nothing  in 
the  manner  of  tueii'  fonn-itiou  wiii  jh  corresponds  to  this  impression  ?  and 
svhy  should  the  ear  of  the  hearer  make  the  distinction  of  syllables,  if  no  such 
distinction  is  made  by  the  mouth  of  the  speaker  ?  It  would  seem  that  here  is  a 
uniform  effect  without  any  cause  at  all.  Is  not  this  uniform  impression,  made 
upon  the  ear,  of  two  phonetic  impulses,  good  evidence  that  the  cause  of  this 
impression  is  the  fact  of  two  such  impulses?  If  not,  what  becomes  of  the 
principle,  which  none  knows  better  than  Prof.  Whitney  himself,  but  which  he 
seems  to  have  forgotten  for  the  moment,  that  speech  consists  wholly  of  sound, 
and  that  we  truly  apprehend  its  nature  by  the  ear  alone  ? 

4 .  In  tine,  let  Prof.  Whitney  apply  his  sharp  and  cultivated  ear  to  the  syllabi* 
iipainction  between  viie  and  vial,  cream  and  create,  and  he  can  hardly  fail  to 
perceive  the  single  vocal  impulse  in  the  monosyllables,  and  the  double  impulse 
in  the  dissyllables  ;  and  consequently  thai  the  juxtaposition  of  open  and  close 
bounds  has  nothing  to  do  with  the  matter.  Or,  to  take  a  still  stronger  case,  let 
the  sounds  pa-a,  with  a  as  in  far,  be  articulated  in  two  distinct  syl  able*. 
B«jre  now  is  a  simple  repetition  of  the  most  "  open"  and  "  sonorous"  sound 
in  tto  language,  with  no  close  sound  to  divide  the  word  into  two  syllable*, 
md  yet  the  tv*o  are  iust  as  distinct  as  those  of  apple  or  batUr* 


2H  The  Elements  of  Power. 

tion  of  anv  kind,  and,  upon  close  attention,  it  wilj 
be  perceived  that  it  opens  with  a  full  impulse  of  the 
voice,  and  closes  with  a  vocule,  or  vanishing  sound, 
which  rises  in  a  continuous  slide,  a  whole  tone 
above  the  opening  pitch.  But  on  monosyllabic 
words,  on  all  accented  syllables,  and  on  the  last 
syllable  of  every  word,  this  vocule  may  fall  instead  of 
rising  from  the  radical  pitch ;  and  it  may  rise  or 
fall  through  more  than  one  tone  or  intervaL 
Whether  it  rise  or  fall,  and  whether  through  one  or 
more  intervals,  depends  upon  the  character  and 
strength  of  the  emotions  to  be  expressed.  This 
fact,  as  we  shall  see  hereafter,  is  of  primary  import- 
ance in  the  expression  of  all  the  emotions  and  pas- 
sions. 


§119.  A  tonic,  or  a  strong  subtonic,  enters  into  every  sylla- 
ble, and  in  no  syllable  can  there  be  more  than  one  such 
sound. 

1.  AfuU  tonic  sound  forms  tlw  basis  of  every  syllable. 

In  order  that  an  elementary  sound  should  be 
capable  of  forming  a  syllable  by  itself,  or  in  combi- 
nation with  feeble  elements,  it  must  be  either  an 
open  sound,  L  e.  one  formed  without  contact  of  the 
organs,  or  one  which,  in  spite  of  slight  contact,  has 
nearly  or  quite  a  full  tonic  vocality ;  consequently, 
it  must  be  capable  of  indefinite  prolongation.  The 
reason  of  this  is  that  only  such  sounds  can  take  the 
full  radical  and  vanish,  with  which  every  syllable 
opens  and  closes.  Hence  a  syllable  cannot  be 
formed  of  atonic  sounds,  such   as  t  k  s  p  f ,   eithei 


Articulation.  21  j 

separately,  or  in  any  possible  combination  with  each 
other.  Hence  also  a  syllable  cannot  be  formed  oi 
those  subtonics  which,  by  reason  of  the  strength  oi 
their  articulation,  or  check,  have  but  a  feeble  vocal- 
ity,  such  as  b  d  g  z  j,  either  separately,  or  in  any 
possible  combination  with  each  other,  or  with 
atonies.  But  each  of  the  tonics  is  capable  of  form- 
ing a  syllable ;  so  also  are  those  subtonics  which 
are  formed  without,  or  with  a  very  slight  contact,  or 
which,  by  reason  of  their  anomalous  nasal  charactei, 
have  a  full  and  strong  vocality.  The  subtonics 
which  are  thus  capable  of  forming  syllables,  are  y, 
w,  r,  1,  n,  m,  which,  therefore,  are  the  true  and 
proper  semi-vowels  of  the  language.  Examples  of 
their  forming  syllables  will  be  given  under  each  of 
these  elements  in  pronunciation. 

2.  There  can  be  but  one  ionic  in  each  syllable. 
This  is  strictly  true  of  the  tonics  as  enumerated 
IH  the  table  (§  112).  But  it  must  be  borne  in  mind 
that  several  of  these  are  properly  compound  tonics, 
or  diphthongs.  Thus,  a  as  in  fate,  i  as  in  pine,  and 
oi  as  in  oil,  are  diphthongs,  all  closing  with  the 
sound  of  i  as  in  pin.  O  as  in  old  is  also  regarded 
and  treated  by  the  Sanskrit  grammarians  as  un- 
questionably a  diphthong,  composed  of  a  and  u ; 
and  hence  in  French,  one  of  the  branches  of  the 
great  Sanskritic  family,  it  is  still  represented  by  au, 
as  in  baume,  pronounced, borne.  Ou  as  in  our  rep- 
resents to  the  eye  the  elements  of  which  it  is  com- 
posed. With  this  explanation,  there  must  be  as 
many  syllables  in  every  word  as  there  are  tonics, 
The  reasons  for  this  have  been  already  given  (§§117 


216  The  Elements  of  Power. 

1,  2);  viz.  the  vocality  of  the  tonics  is  so  full  and 
strong  that  each  requires  a  separate  impulse  of  the 
voice  ;  and  their  relation  to  each  other  is  such  th:*t 
no  two  of  them  in  juxtaposition,  can  be  formed  by 
one  and  the  same  impulse.  Thus  no  such  combina- 
tion as  ao,  eo,  eu,  io,  oa,  ua,  uo,  can  form  a  single 
syllable.  In  order  that  any  of  these  signs  should 
represent  a  single  syllable,  either  one  of  its  elements 
must  be  suppressed,  as  e  in  euphony  and  yeoman, 
or  one  of  them  must  represent  some  other  sound,  as 
u  represents  w  in  persuade. 


§120.  All  the  sounds  which  are  capable  of  forming  syllables 
by  themselves,  are  essentially  variable  in  length. 

Properly  there  is  no  such  thing  as  an  essentially 
long  or  short  vowel.  For  not  only  all  the  Towels, 
but  all  the  sounds  which  are  capable  of  forming 
syllables  by  themselves,  are  essentially  variable  in 
length,  and  capable  of  being  prolonged  or  shortened 
indefinitely.  Thus  a  as  in  fate,  commonly  regarded 
as  an  essentially  long  vowel,  is  long  in  fate  and  face, 
but  short  in  fatu'itous  and  face'tious.  Again,  the  so- 
called  short  vowel  i  as  in  pin,  is  short  in  minute', 
but  as  long  as  the  longest  in  sing'ular ;  whilst  the 
so-called  long  vowel  u  as  in  use,  in  the  same  word 
is  as  short  as  the  shortest.  In  like  manner,  a  as  in 
all,  and  e  as  in  eve,  are  long  in  al'tar,  and  de'viate 
and  short  in  auspicious  and  educe'. 


Articulation.  217 


\  121.  The  length  and  strength  of  syllables  depend  upon  ac- 
cent, emphasis,  and  the  number  and  vocality  of  theii 
elements. 

We  shall  find  hereafter  that  syllables  are  made 
long  by  the  temporal  accent,  and  are  still  further 
lengthened  by  emphasis.  But  besides  these  two 
causes,  the  length  of  a  syllable  depends  upon  the 
number  of  elementary  sounds  of  which  it  is  com- 
posed. When  several  additional  sounds  come  after 
the  tome,  their  power  to  lengthen  the  syllable  gives 
us  the  explanation  of  the  rule  in  Latin  prosody,  that 
a  vowel  is  long  by  position ;  for  even  when  the 
following  consonants  are  not  in  the  same  syllable 
as  written,  they  often  are  as  it  is  uttered  by  the 
voice.  Thus  the  syllables,  length,  strength,  starch, 
Hash,  wasp,  are  essentially  long,  because  they  are 
composed  of  a  large  number  of  elementary  sounds ; 
whence  they  cannot  properly  be  made  to  stand  in 
the  place  of  short  syllables.  But,  on  the  other 
hand,  syllables  composed  of  few  elements,  are  not 
necessarily  short,  because  they  may  be  lengthened 
by  the  accent  or  emphasis. 

The  strength  of  syllables,  though  depending  in 
part  upon  the  same  causes,  is  capable  of  being  dis- 
tinguished from  their  length.  A  strong  syllable  ia 
one  which  is  composed  of  a  number  of  elements 
which  have  a  strong  vocality.  Thus  again,  the  syl- 
lables, length,  strength,  worm,  bang,  whang,  ?oud, 
wrong,  are  essentially  strong,  by  reason  of  the  num- 
ber of  vocal  elements,  tonics  and  subtonics,  which 
compose  them.     On  the  other  hand,  pet,  rit,  kit,  sit. 


218  The  Elements  of  Power. 

ore  essentially  feeble,  because  their  tonics  have  the 
feeblest  vocalifcy,  and  then*  other  elements  are  few, 
and  have  no  vocality  at  all. 

The  importance  of  all  this  in  metre  and  style  is 
obvious ;  and  the  errors  which  arise  from  neglect  of 
it  are  frequent  and  damaging  : — in  metre,  by  the  in- 
terchange of  long  and  short  syllables  ;  and  in  style, 
by  the  attempt  to  express  a  strong  thought  in  a 
word  of  feeble  sound,  or  an  insignificant  thought  in 
a  sonorous  word. 

§  122*  The  principal  causes  of  bad  articulation  are,  confusion 
of  thought,  defective  organs,  want  of  control  over  the 
organs,  nervous  timidity,  careless  habits,  and  too  much 
care. 

The  causes  of  bad  articulation  are  very  numerous 
and  complicated.  Only  the  most  important  are  here 
enumerated. 

1.   Confusion  of  thought,  or  inarticulate  thinking. 

We  have  seen  (§  27)  that  the  character  of  the 
thinking  constantly  tends  to  characterize  the  vocal 
expression  of  it.  Hence  clear  and  articulate  think- 
ing naturally  forms  or  expresses  itself  in  clear  and 
articulate  speaking.  As  soon  as  a  man  begins  to 
think  with  sharpness  and  precision,  instinctively  he 
begins  to  bite  off  his  words  precisely.  In  fact  it  is 
the  influence  of  such  thinking  which  brings  the  or- 
gans of  articulation  under  the  perfect  control  of  the 
will.  It  exerts  in  time  a  marked  influence  even 
upon  the  physical  constitution,  size,  and  shape  of 
these   organs.      Consequents,   ^discriminate    and 


ABTICULATION.  2K 

blarred  thinking  naturally  forms  or  expresses  itseli 
in  indistinct  a  ad  blurred  articulation.  Hence  the 
articulation  of  stupid  people,  and  of  tribes  in  the 
lowest  state  of  barbarism,  is  commonly  very  imper- 
fect. The  Boobies  of  the  island  of  Fernando  Po, 
communicate  with  each  other  in  what  can  hardly 
be  called  an  articulate  language.  Even  the  phys- 
ical organs  of  such  people  remain  unformed  and  un- 
controlled. The  coarse  thick  tongue,  and  ill-de- 
fined blubber  Up,  of  every  undeveloped  or  degraded 
type  of  mankind,  seem  to  be  sufficiently  accounted 
for  by  the  fact  that  for  thousands  of  years  they 
have  been  without  any  sharp  distinctions  in  their 
thoughts,  destitute  of  culture  and  refinement.  Hence 
we  may  expect  that  civilization  and  educated  think- 
ing will  in  time  purify  the  organization,  and  reduce 
the  size  of  their  lips,  tongues,  and  other  organs  of 
speech,  and  give  them  that  sharp  outline  and  flexi- 
bility, which  are  so  characteristic  of  the  European 
and  civilized  man. 

2.  Defective  organs. 

A  defective  ear,  that  is,  a  sense  of  hearing  which 
fails  to  discriminate  accurately  the  different  elemen- 
tary sounds  from  each  other,  is  a  prevalent  cause  of 
bad  articulation.  Hence  the  different  tonics,  and 
different  classes  of  sub  and  atonies,  are  constantly 
liable  to  be  confounded  and  interchanged.  Thus 
many  persons  fail  to  distinguish  a  as  in  far,  from  a 
as  in  ask,  and  this  latter  again  from  a  as  in  hat.  In 
this  way,  also,  1  and  r,  d  and  t,  b  and  p,  w  and  wb 
f  and  v,  th  in  then  and  th  in  thin,  are  frequently 


220  The  Elements  of  Poweb. 

confounded.  The  remedy  for  this  defect  is  the  ex* 
ercisBS  prescribed  for  the  training  of  the  eai 
(§  105 — 4).  In  like  manner,  undue  thickness  of  the 
lips  and  tongue,  enlargement  of  the  tonsils  and  soft 
palate,  imperfect  circulation  of  the  breath  through 
the  nostrils,  and  other  similar  defects,  often  produce 
indistinct  and  impure  articulation.  Such  defects 
however,seldom  present  insuperable  difficulties,  pro- 
vided the  organs  be  adequately  trained  to  their 
work. 

3.  Imperfect  control  over  the  articulating  organs. 

There  are  all  degrees  of  control  over  the  organs 
of  speech,  and  few  persons  have  it  in  perfection. 
Yet  the  very  highest  degree  of  it  is  necessary  to  ar- 
ticulate with  precision  and  facility  the  various  com- 
binations of  the  elementary  sounds  in  English,  many 
of  which  are  extremely  difficult.*     Such  combina- 

*  In  some  languages,  as  e.  g.  in  the  Welsh,  and  other  dialects  of  the  Old 
Celtic,  in  the  Greek  to  a  very  limited  extent,  and  in  the  Sanskrit  perfectly, 
such  difficult  combinations  of  the  elementary  sounds  are  avoided  by  euphonic 
rules,  so  that  whenever  two  sounds  of  difficult  combination  come  together, 
either  one  of  them  is  changed,  or  a  euphonic  element  is  inserted  between  them 
just  as  we  change  a  into  an  before  a  vowel  or  a  silent  A.  The  word,  Sanskrit, 
itself,  which  is  exactly  translated  by  our  word  perfect,  is  an  example,  the  s  in 
the  middle  of  the  word  having  no  significance  whatever,  being  simply  a  eupho- 
nic insertion,  to  avoid  a  difficult  combination.  These  rules  in  Sanskrit  are  so 
comprehensive  and  particular  that  every  combination  of  sounds,  whether  diffi- 
cult of  articulation,  or  unpleasant  to  the  cultivated  ear  of  the  Brachman,  is  elimi- 
nated from  the  language.  In  English,  also,  to  a  far  greater  extent  than  ia 
eommonly  supposed,  euphonic  influences  have  determined  the  combmation* 
which  actually  occur.  Thus  the  word,  diphthong,  is  rightly  pronounced  dip- 
thong  in  order  to  avoid  the  unpleasant  combination  of  ph  =/,  and  th  as  in  Van. 
But  the  combinations,  once  established  by  the  authorized  pronunciation,  art 
the  same  in  English,  wherever  the  word  occurs  ;  we  have  to  take  them  as  they 
eome,  whether  difficult  or  easy.  Nor  is  this  any  disadvantage  to  our  mothei 
tongue  for  the  highest  and  best  purposes  of  human  speech  ;  for  the  Sanskrit 
though  vaunted  as  '  perfect,'  is  greatly  enfeebled  by  its  euphonic  over-refine 
trent,  as  might  easily  be  shown. 


Articulation.  221 

hons  e.  g.  as  the  word, strength  (often  >n  account  of 
its  difficulty  pronounced, strenth)  stcp'.'st,  hush'd'st, 
ask'd'st,  cannot  be  perfectly  articulated  without  a 
high  degree — and  wheu  several  of  them  occur  ir 
rapid  succession,  without  the  most  psrfect  control 
over  the  articulating  organs.  "Where  this  is  want- 
ing, moreover,  the  different  classes  of  sub  and  aton 
ics  are  constantly  liable  to  be  confounded  and  inter- 
changed with  each  other. 

4.  Nervous  timidity. 

The  articulation  of  many  speakers  is  jiarred  by 
undue  haste  or  hurry,  arising  from  nervous  timidity 
and  agitation.  When  thus  flurried,  instead  of  artic- 
ulating every  element  with  deliberateness  and  pre- 
cision, they  throw  out  whole  mouthfuls  of  vowels 
and  consonants,  all  jumbled  up  together.  For 
speaking  to  a  great  audience,  as  the  most  practiced 
and  eloquent  orators  have  always  felt,  is  something 
terrible ;  it  is  like  hunting  the  lion  single  handed. 
But  this  terror  must  be  overcome  by  the  firm  and 
steady  exercise  of  self-control  (§  87).  "  One  must 
be  sure  of  himself  before  he  can  be  sure  of  the  lion." 

5.  Careless  habits. 

One  of  the  most  fruitful  causes  of  bad  articulation 
is  mere  carelessness,  or  slovenly  habits,  in  speaking- 
When  such  habits  are  once  formed,  they  are,  like  all 
others,  extremely  difficult  to  correct.  For  the  speak- 
er becomes  entirely  unconscious  of  his  faults,  even 
when  they  are  so  numerous  and  aggravated  as  to 
render  a  large  proportion  of  his  words  unintelligible. 
But  whoever  can  be  careless  or  slovenly  in  address 


222  The  Elements  of  Poweb. 

iiig  a  public  audience,  may  thereby  know  that  he  v% 
naturally  incapable  of  speaking  well. 

6.  Toe  much  care. 

Sometimes  the  articulation  is  marred  by  ovei 
nicety,  rendering  it  finical,  pedantic  and  affected. 
This  fault  appears  most  frequently  in  sounding  silent 
letters,  the  t  e.  g.  in  sucli  words  as  often,  soften, 
epistle,  apostle,  thistle  (§  166-2,  (5)).  Such  faults 
are  worse  than  many  that  arise  from  carelessness, 
because  they  attract  more  attention,  and  because 
pedantry  or  affectation  in  any  form  is  fatal  to  elo- 
quence. 


§  123.  The  qualities  of  good  articulation  are  correctness,  dis- 
tinctness, purity,  ease  ani  elegance. 

These  qualities  are  not  always  logically  distinct, 
but,  for  the  most  part,  they  overlap  or  imply  each 
other. 

1.  Correctness  refers  chiefly  to  the  formation  of  the 
elementary  sounds,  and  requires  that  they  should 
be  rendered,  in  all  their  combinations,  with  the 
utmost  accuracy  and  precision. 

2.  Distinctness  characterizes  that  clear  and  sharp 
distinction  of  the  elements  from  each  other,  which 
necessarily  results  from  their  precise  and  accurate 
formation. 

3.  Purity  requires  that  the  vocal  elements  should 
be  formed  of  pure  tone  (§  168),  without  admixture  oJ 
noise  from  the  expulsion  of   non-vocalized  breath, 


ARTICULATION.  22S 

3r  from  the  unskillful  and  harsh  operation  of   thf 
articulating  organs. 

4.  Ease  or  facility  is,  of  course,  the  opposite  of  a 
^bored  or  difficult  working  of  the  articulating 
organs,  arising  from  inadequate  voluntary  control 
over  them. 

5.  Elegance  or  beauty  of  articulation  results  from 
all  the  foregoing  qualities  combined.  It  implies 
also  a  certain  smooth  or  liquid  flow  of  the  sounds, 
and  is  in  fact  the  crowning  perfection. 


$  124.  Good  articulation  is  an  essential  element  of  power  in 
delivery. 

The  importance  of  good  articulation  as  an  ele- 
ment of  power  in  delivery,  cannot  be  overestimated 
This  may  be  evinced  in  the  following  particulars. 

1.  Articulation  is  tlie  differential  character  of  human. 
speech. 

The  word,  language,  in  its  most  comprehensive 
sense  (§  '2 — 1),  includes  not  only  speech,  but  also 
written  and  printed  and  other  symbolical  represen- 
tations of  human  thought.  Hence  each  of  the  arts, 
such  as  music,  painting,  sculpture  and  architecture, 
has  its  own  language.  In  distinction  from  all  these 
and  also  from  the  inarticulate  voices  or  cries  of  the 
irrational  creation,  articulation  is  the  special  char- 
acteristic of  human  speech.  Hence  "  the  articu- 
lately speaking  men  "  of  Homer,  expresses  the  con- 
ception which  the  Greeks,  the  greatest  practical 
master^  of  speech  the  world  has  ever  seen,  formed 


a^J4  The  Elements  of  Power. 

of  humanity.  The  articulate  word  of  a  man  is  hit 
rational  nature  in  its  most  full  and  perfect  revelation 
— a  revelation  which  is  dim  and  obscure  in  the  de- 
gree in  which  his  articulation  is  defective. 

2.  Good  articulation  u  necessary  in  order  to  speak 
and  to  be  understood  with  ease. 

The  question  whether  the  public  speaker  can  de- 
liver himself  without  exhaustion,  so  as  to  be  under- 
stood by  large  audiences  with  facility,  turns  upon 
the  quality  of  his  articulation,  even  more  than  upon 
the  strength  of  his  voice.  Good  articulation  will 
enable  him  to  speak  with  comparatively  little  effort, 
or  fatigue,  or  expenditure  of  vital  energy,  so  as  to 
be  understood  with  ease  by  the  most  numerous  as- 
semblies. In  such  assemblies,  and  more  especially 
if  they  are  in  the  open  air,  he  cannot  make  himself 
understood  without  great  distinctness  and  purity  of 
articulation  ;  his  speaking  will  be  unintelligible  ;  or 
if  not  absolutely  so,  yet  the  effort  on  the  part  of  the 
audience  to  understand  will  be  so  great  that  they 
will  soon  become  wearied,  and  cease  to  give  their 
attention.  In  the  meantime,  the  strain  upon  his 
own  organs,  especially  those  of  the  breath  and 
throat,  will  be  so  great  that  it  may  inflict  upon  them 
irreparable  injury,  and  break  down  the  strongest 
health. 

3.  Distinct  articulation  is  essential  to  the  expression 
y  the  distinctions  of  thought ;  and  in  this,  the  consonanU 
are  of  more  importance  than  the  voicels. 

The  distinctions  of  sound  made  by  the  articulat- 
ing organs,  are  the  most  significant  of  all  symbols, 


Articulation.  225 

whether  natural  or  artificial  for  the  expression  of 
the  distinctions  of  thought,  i.  e.  all  the  various  states 
and  operations  of  the  intellect.  For  this  purpose, 
the  consonants  are  of  far  greater  importance  than 
the  vowels,  for  the  reason  that  the  differentiating 
action  of  the  organs  in  the  formation  of  the  con 
sonants,  is  greater  than  in  the  vowels.  Hence  the 
consonants  require  to  be  formed  with  the  utmost 
precision  and  distinctness,  and  to  be  jointed  to- 
gether in  syllables  and  words  with  the  utmost  pur- 
ity, in  order  to  symbolize  and  express  the  subtle 
distinctions  of  precise  and  articulate  thinking. 
Feebly  rendered,  they  express  feebleness  of  the 
intellectual  operations.  The  omission  of  any  of 
them,  as  that  of  f  =  v  in  of,  or  one  of  them  put  for  an- 
other, as  b  for  p  in  baptism,  or  w  for  wh  in  why 
and  when,  or  a  confused  and  blurred  utterance  of 
them,  is  the  natural  symbol  and  expression  of  the 
want  of  discrimination  and  precision  of  thought 
(§  122—1). 

4.  Good  articulation  is  essential  to  the  adequate  ex- 
pression of  emotion  and  passion;  and  here  the  voweh 
are  of  the  greatest  importance. 

It  is  true,  indeed,  that  the  gross  and  sensual  and 
violent  passions  may  be  expressed,  to  a  certain  extent, 
by  inarticulate  cries,  such  as  those  of  mere  animals. 
Uncontrollable  passion  naturally  runs  into  confused 
articulation.  But  all  the  delicate  modifications  and 
distinctions  of  emotion,  all  its  nicer  shades  and 
variations,  and  all  passion  that  is  held  under  con- 
trol— in  a  word,  all  feelings  which  are  distinctively 
human,  require  for  their   adequate  expression,  the 


2*26  The  Elements  of  Power. 

purest  and  most  perfect  articulation.  Thus  angei 
scorn,  contempt,  hatred,  and  all  such  passions,  wher. 
not  uncontrollable,  express  themselves  by  sharpening 
and  hardening  the  consonantal  sounds ;  whilst  love 
pity,  sorrow,  and  all  the  tender  and  gentle  emotions 
give  these  sounds  a  peculiar  softness  and  smooth- 
ness, and  a  certain  liquid  flow  to  the  whole  utter- 
ance. In  the  expression  of  emotion  and  passion 
the  vowels  are  more  significant  than  the  consonants. 
One  reason  of  this  is  that  they  correspond  to  the  na- 
ture of  emotion  more  closely,  as  being  less  sharply 
distinguished  from  each  other  than  the  consonants ; 
which  more  properly  correspond  to  the  sharp  and 
precise  distinctions  of  thought.  Hence  it  is  by 
means  of  the  vowel  sounds,  in  all  their  ever  vary- 
ing qualities  of  voice,  and  changes  of  pitch, 
time  and  force,  that  the  passions  of  the  speaker's 
soul  pour  themselves  forth,  and  are  communicated 
to  the  audience,  with  the  greatest  fullness  and 
power. 


CHAPTER  IV. 

ACCENTUATION. 

5  125,  AuMhiujufon  consists  in  giving1  distinction  or  promi* 
nence  to  particular  syllables,  by  increasing  the  time,  01 
stress,  or  by  raising  the  pitch,  of  the  accented  syllable. 

There  are  at  least  these  three  ways  of  rendering 
any  particular  syllable  more  prominent  than  the 
others  with  which  it  is  immediately  connected  ;  and 
each  of  these  methods  may  be  employed  separately, 
or  any  two,  or  all  of  them,  may  be  combined  in  one 
and  the  same  accent. 


§  126.  The  temporal  accent  consists  in  giving  an  increase  of 
t  me  U  the  syllable;  it  is  preferred  by  syllables  which 
end  in  tonic  sounds. 

Thus  in  the  words,  dai'ry,  jury,  vo'cal,  it  will  be 
readily  observed  that  about  double  the  amount  of 
time  is  given  to  the  former  syllables,  as  compared 
with  the  latter.  All  syllables  which  end  in  tonic 
sounds  have  a  decided  preference  for  this  form  oi 
the  accent ;  in  other  words,  this  is  their  leading  oi 
predominant  form.  The  reason  is  that  all  the  tonics, 
being  open  sounds,  that  is,  formed  by  the  organs 
not  iu  contact,  and  having  the  highest  degree  of  vo- 


228  The  Elements  of  Power. 

cality,  are  capable  of  being  indefinitely  prolonged 
This  reason  applies  also  to  the  subtonic  feebk 
checks,  and  to  the  nasals,  though  with  less  force, 
inasmuch  as  they  have  a  lower  degree  of  vocality ; 
and  hence  syllables  which  end  in  these  sounds,  fre- 
quently take  this  form  of  the  accent,  as  in  the  words, 
an'vil,  bev'el,  beam'ing.  The  temporal  accent  read- 
ily combines  with  that  of  increased  stress,  and  some- 
times with  that  of  the  raised  pitch. 


$127.  The  stress  accent  consists  in  giving  increased  stress  oi 
voice  to  the  syllable;  it  is  preferred  by  syllables  ending 
in  subtonic  sounds. 

Thus  we  give  about  double  the  ordinary  stress  01 
force  of  voice  to  the  accented  syllables  of  the  follow- 
ing words,  bab'ble,  mad'der,  bag'ging.  This  is  the 
leading  form  of  the  accent  in  syllables  that  end  in 
subtonic  sounds,  especially  those  which  cannot  be 
indefinitely  prolonged,  and  which  have  therefore  a 
comparatively  feeble  vocality.  Instinctively  the 
voice  seems  to  make  a  greater  effort,  in  anticipation 
of  its  being  so  soon  and  suddenly  checked,  or 
stopped  off,  by  the  strong  articulation  in  which  the 
syllable  ends.  Increased  stress  is  the  most  apt  way 
of  distinguishing  syllables  which  end  with  such 
sounds.  These,  however,  are  not  incapable  of  the 
temporal  accent  in  combination  with  their  own,  for 
the  reason  that  the  increase  of  time  can  be  laid 
upon  the  tonic  which  precedes  the  closing  subtonic 
sound. 


ACCENTUATION.  22^ 

§  128.  The  pitch  accent  consists  in  raising  the  pitch  of  the 
syllable  5  it  is  preferred  by  syllables  which  end  in  atonic 
sounds. 

In  this  case,  the  pitch  of  the  syllable  is  raised  a 
Cull  tone,  or  one  degree  of  the  musical  scale,  above 
the  other  syllables.  This  also  may  be  readily  ob- 
served in  such  words  as  battle,  capitulate,  refrac'- 
tory.  This  is  the  leading  form  of  the  accent  in  syl- 
lables which  end  in  atonic  sounds,  for  the  reason 
that  such  sounds  having  no  vocality,  and  being 
formed  by  mere  articulations  of  the  whispering 
breath,  are  extremely  unpleasant  when  unduly  pro- 
longed, where  they  are  capable  of  it,  and  when  too 
much  distinguished  by  increased  stress.  Yet  this 
form  of  the  accent  may  be  combined  with  either  or 
both  of  the  others,  by  laying  the  increased  time,  or 
Btress,  or  both,  upon  the  tonic  of  the  syllable. 

§  129.  Accents  are  of  primary,  secondary  and  tertiary  de- 
grees of  time  and  stress. 

Besides  the  preceding  distinctions,  the  accent 
may  be  of  greater  or  less  increase  of  time  and 
force ;  and  from  the  fact  of  such  variations,  we 
have  the  distinctions  of  primary,  secondary  and 
tertiary  accents. 

1.  The  primary  is  the  accent  of  greatest  increase 
of  time,  or  stress,  or  of  both  these  combined 
Words  of  two  syllables  take  only  this  accent,  as  ri 
the  words,  man'ly  mer'cy  caprice'. 


23G  The  Elements  of  Power. 

2.  TJie  secondary  accent  is  one  of  less  increase 
and  is,  as  it  were,  the  echo  of  the  primary.  It  oc 
curs  on  words  of  three  syllables,  when  the  primary 
is  on  the  first  or  last,  and  on  words  of  four  or  more 
syllables  ;  as  in  the  following,  practical',  paP'pitate' 
pur"ify',  accenf'uate',  facilitate',  com'pensa"tion. 

3.  The  tertiary  is  of  the  least  increase,  and  is  as 
If  the  echo  should  repeat  itself  in  a  still  feebler  form. 
It  occurs  on  words  of  five,  six,  or  more  syllables,  as 
in  tran"substan'tia'"tion. 

This  image  of  the  echo,  however,  is  so  far  inaccu- 
rate, that  the  primary  accent  does  not  always  pre- 
cede, but  is  often  preceded  by  either  or  both  the 
others.  The  primary  is,  of  course,  the  most  import- 
ant, and  is  the  one  always  meant  when  the  accent 
is  spoken  of,  except  when  either  of  the  others  is 
specified. 

§  130.  The  accent  has  four  functions  ;  it  gives  unity  and  va- 
riety to  the  sound  of  words,  expresses  their  different  and 
contrasted  meanings,  and  constitutes  the  principal  ele- 
ment of  rhythm. 

1.  It  gives  to  words  of  more  than  one  syllable  unity 
and  variety  of  sound. 

This  is  the  most  important  function  of  the  accent. 
For  every  such  word  in  English  takes  one,  and  but 
one  primary  accent,  which  gives  distinction  or  pro- 
minence to  the  accented  syllable  over  all  the  others, 
and  draws  them  into  a  certain  relation  of  subordina- 
tion, and  dependence  upon  it.  This  unifies  the 
sound  of  the  whole  word,  and  thus  enables  it  to 


Accentuation.  231 

symbolize  and  express  that  unity  of  thought,  which, 
as  we  shall  hereafter  see,  is  an  essential  character 
of  words.  Consequently  in  the  English  language, 
such  words  have  a  far  higher  degree  of  unity,  and 
in  so  far  are  more  perfect  as  words,  than  in  those 
other  languages  which  are  properly  destitute  of  the 
accent.  The  manner  in  which  the  different  accents, 
primary,  secondary  and  tertiary,  with  their  various 
elements  of  time,  stress  and  pitch,  contribute  to  that 
full  and  rich  variety  of  sound,  which  is  characteristic 
of  English  words,  is  sufficiently  obvious. 

2.  It  expresses  the  different  meanings  of  words  which, 
without  tJie  accent ,  would  have  the  same  sound. 

We  have  a  large  class  of  words  in  English  which 
are  composed  of  precisely  the  same  elementary 
sounds,  and  are  represented  by  the  same  alphabetic 
symbols,  but  which  differ  widely  in  their  grammat- 
ical character  and  meaning.  Such  are  all  the  words 
which  are  used  both  as  nouns  or  adjectives,  and  as 
verbs.  Now  this  whole  difference  of  character  and 
meaning  is  commonly,  and  the  tendency  of  the  Ian 
guage  is  such  that  probably,  in  no  long  time,  it  will 
be  uniformly,  expressed  by  accenting  the  words  dif- 
ferently. We  have  examples  of  this  in  the  words, 
tor'ment  and  torment',  fre'quent  and  frequent',  inter- 
dict and  interdict',  at'tribute  and  attribute. 

3.  It  expresses  the  contrasted  meanings  of  similar 
words. 

When  the  meanings  of  any  two  similar  words  iu 
the  same  sentence  are  contrasted,  or  opposed  to 
each  other,  the  accent  enables  us  to  express  this 


232  The  Elements  of  Power. 

contrast  or  opposition  in  a  corresponding  different 
of  sound.  This  function  is  of  such  importance  thai 
it  justifies  and  requires  a  change  of  the  accent  from 
its  normal  position  on  one  or  both  of  the  words,  ag 
iii  the  following  expressions  :  "  He  must  in'crease, 
but  I  must  de'crease ;"  jus'tice  and  injustice,  giv'ing 
and  forgiving,  probability  not  plau'sibility. 

4.  It  is  the  principal  element  of  rhythm. 
The  rhythm,  both  of  prose  and  poetry,  depends  in 
English  chiefly  upon  such  a  distribution  of  accented 
and  unaccented  syllables  as  is  adapted  to  the  ex- 
pression of  the  sentiment,  and  as  makes  a  pleasing 
impression  upon  the  ear.  We  see  this  in  the  fol- 
lowing prose  sentence  from  the  address  of  the  Apos- 
tle Paul  to  the  Athenian  Areopagus :  "  Whom',  there'- 
fore,  ye  ig'norantly  wor'ship,  him'  declare'  I  unto 
you ;"  also  in  the  following  words  of  the  Queen  in 
Hamlet,  strewing  funereal  flowers  upon  the  corpse 
of  Ophelia. 

Sweets'  to  the  sweet' — farewell'. 
I  hop'ed  thou  should'st  have  been'  my  Hamlet's  wife  ; 
I  thought'  thy  bride'-bed  t'  have  deck'ed,  sweet  maid,' 
And  not'  t'  have  strew'ed  thy  grave'. 

The  change  of  a  single  accent  in  these  quotations 
would  essentially  mar  their  superb  rhythm.  Accent 
enters  deeply  also  into  the  nature  and  effects  of  mol- 
ody  and  harmony  in  discourse,  by  which  the  sound 
of  the  words  is  made  to  fall  musically  upon  the  ear, 
and  to  symbolize  and  echo,  as  it  were,  the  sense 
which  they  are  intended  to  express. 


Accentuation.  23 1 

^  131*  The  accent  gives  the  En  lish  language  a  great  superi- 
ority oyer  others  which  are  destitute  of  it. 

This  fourfold  function  of  the  accent  gives  to  the 
English  language  a  vast  superiority  over  the  Ihench, 
and  all  others  which  are  destitute  of  this  element  oi 
expression.  For  it  imparts  to  all  words  of  ruoro 
than  one  syllable,  a  much  greater  unity  and  variety 
of  sound — it  renders  them  much  more  precise  and 
perspicuous  in  meaning — it  renders  contrasted  words 
and  phrases  far  more  antithetical  and  expressive — 
and  it  gives  to  the  rhythm,  both  of  poetry  and  prose, 
far  greater  fullness,  richness  and  symbolical  power 
— than  were  otherwise  possible. 

§  132.  Rules  for  placing  the  accent  express  the  tendencies  oi 
the  language. 

It  is  hardly  possible  to  lay  down  precise  and  inva- 
riable laws  of  accentuation ;  but  there  are  certain 
tendencies  of  the  language,  which  approach  more  or 
less  nearly  to  the  nature  of  laws,  and  which  require 
to  be  exhibited. 

§  133.  Monosyllables  commonly  take  no  accent. 

This  rule  requires  to  be  qualified  in  the  four  fol- 
lowing cases. 

1.  Monosyllables  which  are  essentially  long,  from  the 
large  number  of  their  elementary  sounds  (§  121), 
such  as  dart,  harm,  realm,  are  undistinguishable 
from  syllables  which  are  lengthened  by  the  tempo- 
ral accent. 


234  The  Elements  or  Power. 

2.  .1/cr/t.  /syllables  essentially  strong,  from  the  strong 
vocality  of  their  elements  (§  121),  such  as  mourn, 
glean,  blaze,  are  undistinguishable  from  syllables 
with  the  accent  of  increased  stress. 

8,  Emphatic  wnosyllables  include  the  accent  in 
their  emphasis. 

4.  Rhythm  &ometimes  requires  the  accentuation  of 
monosyllables. 

This  is  true  of  the  rhythm  both  of  prose  and  po- 
etry. In  the  latter,  however,  it  is  very  necessary  tc 
guard  against  error.  For  where  perfect  regularity 
in  the  rhythm  requires  a  monosyllable  to  be  accent- 
ed, it  is  often  the  intention  of  the  poet  to  leave  it 
without  the  accent,  in  order  to  secure  a  more  full 
and  copious  rhythmic  variety.  This  remark  applies 
chiefly  to  articles,  prepositions,  conjunctions,  pro- 
nouns, adverbs,  and  all  the  monosyllabic  forms  of 
substantive  and  auxiliary  verbs.  An  unskillful  read- 
er would  be  likely  to  spoil  the  poet's  rhythm  in  the 
following  lines,  by  accenting  the  words,  is  and  in. 

There'  is  a  pleas'ure  in  the  pathless  woods' ; 
There'  is  a  rap'ture  on  the  lonely  shore'. 


§  134.  All  words  of  more  than  one  syllable  are  accented. 

The  only  exception  to  this  rule  is  that  rhythm 
sometimes  requires  an  insignificant  word  of  twc 
syllables  to  stand  without  the  accent ;  as  the  word 
apon,  in  the  following  line. 

Since'  upon  night'  so  sweet'  such  aw'ful  morn'  could  riao'. 


Accentuation.  235 


{  135.    Words  of  Anglo-Saxon  origin  commonly  take   the 
accent  on  the  root  syllable. 

Of  course,  these  are  not  the  only  words  which  are 
thus  accented,  but  this  rule  applies  to  them  more 
generally  than  to  others.  This  is  one  of  the  causes 
of  the  superior  strength  of  the  Anglo-Saxon  ele- 
ments of  the  language ;  for  it  always  enfeebles  a 
word  when  the  accent  falls  on  any  other  than  its 
radical  syllable.  The  following  are  examples  under 
the  rule. 

Above',  adown',  affright',  ba'ker,  back'wardly,  black'ness,  care'- 
ful,  death'liness,  eat'ing,  fear' fill,  gaLie,  hearfily,  i'dleness,  jum'- 
ble,  kindliness,  landless,  marketable,  nip'ple,  own'er,  pic'kle, 
quhklsh,  raging,  scanty,  thievish,  ud'der,  wretch'edly,  without,' 
youthful. 

$  186.  Dissyllables  transferred*  from  the  French  commonly 
take  the  accent  on  the  last  syllable. 

Also  a  large  number  of  polysyllables  of  the  same 
origin  are  accented  on  the  last  syllable. 

Allies',  balloon',  brocade',  burlesque',  cartouch',  cartoon',  co- 
quette', dessert',  detail',  discourse',  escheat',  finance',  finesse', 
grimace',  halloo',  illume',  juppon',  lampoon',  maintain',  morass', 
oppobe',  parterre',  research',  resource',  romance',  severe',  tinaile', 
vendue'. 


5  137.  Dissyllables,  which  as  nonns  or  adjectives  are  accented 
on  the  first  syllable,  are  as  verbs  frequently  accented  on 
the  last. 

This  is  the  case  also  with  a  number  of  words  of 
more  than  two  syllables.     The  analogy  of  the  rule 

*  Transferred  i.  «.  adopted  with  little  or  no  ckaDge. 


23G  The  Ele>ients  of  Power. 

applies,  moreover,  in  changing  the  accent  on  some 
words,  where  it  does  not  transfer  it  to  the  last  syl- 
lable, as  in  at'tribute  aad  attrib'uto,  arsenic  and 
arse'nio,  counterbalance  and  counterbalance.  In 
the  case  of  arsenic,  and  some  other  words,  it  distin- 
guishes nouns  from  adjectives.  It  is  necessary, 
however,  to  guard  against  this  clear  tendency  of  the 
language,  so  as  not  to  apply  the  rule  to  words 
which,  according  to  the  best  usage,  have  not  yet 
been  brought  under  it ;  such  as  the  words,  per 'feet 
and  content',  in  which  the  accent  is  the  same  in  all 
cases.  Contents,  in  the  plural,  will  bear  the  accent 
on  either  syllable.  The  following  words  are  exam- 
ples of  this  change  of  accent,  that  is,  they  are  ac- 
cented either  on  the  first  or  last  syllable,  according 
to  their  grammatical  character  and  meaning ;  thus 
ab'ject  or  abject',  and  so  of  the  others. 

Aoject,  absent,  abstract,  accent,  affix,  augment,  bombard,  ce- 
ment, colleague,  collect,  compact,  complot,  compound,  compress, 
concert,  concrete,  conduct,  confine,  conflict,  conserve,  consort* 
contest,  contract,  contrast,  convent,  converse,  convert,  convict, 
convoy,  countercharge,  countercharm,  countercheck,  counter- 
mand, countermarch,  countermine,  counterpoise,  countersign, 
desert,  descant,  discount,  digest,  escort,  essay,  export,  extract, 
exile,  ferment,  foretaste,  frequent,  import,  impress,  incense,  inlay, 
interchange,  interdict,  insult,  object,  overcharge,  overflow,  over- 
match, overthrow,  perfume,  permit,  prefix,  prelude,  premise,  pre- 
sage, present,  produce,  project,  progress,  protest,  rebel,  record, 
refuse,  reprimand,  subject,  survey,  torment,  traject,  transfer, 
transport,  undress,  upstart 


5  138.  Words  terminating  in  ia,  iac,  ial,  ian,  efy,  ify,ety,  itj, 
eons,  ions,  sion,  lion,  athy,  acal,  ical,  fluent,  fluous,  goiial. 
grafriry,  itude,  logy,  lotjiiy,  meter,  inetry,  parous,  phyl- 


Accentuation.  231 

lous,  tony,  (together  with  the  and  commonly  ic,  preceded 
by  a  consonant)  take  the  accent  on  the  preceding  syllable. 

There  are  a  few  exceptions  to  this  comprehensive 
rule,  such  as  ad'jective,  ar'senic,  arithmetic,  bish' 
opric,  cath'olic,  chol'eric,  elegi'ac,  ephem'eric,  her'- 
etic,  lu'natic,  politic  rhet'oric,  splen'etic,  sub'stan- 
tive,  tur'meric,  and  perhaps,  pleth'oric,  which,  how- 
ever, according  to  the  best  authorities,  should  be 
accented,  pletho'ric. 

The  following  are  examples  under  the  rule. 

Affluent,  algebraic,  alphabetical,  ammo'nia,  anat'omy,  aph'yl- 
lous,  attractive,  barba'rian,  biol'ogy,  cheru'bic,  chmacter'ic,  con- 
ta'geous,  conten'tious,  courageous,  cu'bical,  declara'tion,  demo'niac, 
demoni'acal,  diag'onal,  dissen'sious,  diph'yllous,  diversity,  edify, 
epidemic,  epidemical,  empiric,  fanatic,  fanatical,  farina'ceous, 
fortitude,  geol'ogy,  geological,  geom'etry,  geomet'rical,  geom'eter, 
geography,  geographical,  harmonic,  harmonlcal,  heli'acal,  heter- 
oph'ylious,  homeop'athy,  impe'rial,  invec'tive,  Jacobinic,  Jacob* 
inlcal,  hberallty,  malleability,  meridian,  metallic,  mol  lify,  niu'si- 
eal,  Noa'chian,  ovip'arous,  presump'tive,  phlegmatic,  quan'tity, 
rar'efy,  scientific,  scorbu'tic,  scorbu'tical,  solitude,  sohToquy, 
super'fluous,  sym'pathy,  sympathetic,  triph'yllous,  vivip'aious. 

130.  Words  of  three  or  more  syllables  terminating  in  eal, 
erous,  orons,  inons,  ulous,  take  the  accent  on  the  preced- 
ing syllable. 

There  are  a  very  few  exceptions  to  this  rule,  such 
iis  cano'rous,  sono'rous,  and,  perhaps,  deco'rous,  in- 
deco'rous,  which,  however,  on  good  authority,  may 
be  accented  as  in  the  following  examples. 

Bo'real,  corpo'real,  carniv'orous,  cu'neal,  dec'orous,  empyr'eal, 
ethe'rial,  fune'real,  herbiv'orous,  heteroge  nial,  homoge'nial,  iu- 
uecorous,  incorporeal,  lac'teal,  lineal,  ordeal,  sed' ulous,  vocif'er 
bus,  volu'minous. 


238  The  Elements  of  Power. 


§140.  Words  accented  on  the  first  syllable. 

Accessary,  accessory,  admirable,  advertise,  aggrandizement 
aperture,  behemoth,  Bernardine,  blasphemous,  capillary,  character 
characterize,  compromise,  complaisance,  corollary,  construe,  con 
trary,  contumacy,  contumely,  deficit,  designate,  desultory,  desue 
tude,  disputable,  disputant,  diverse,  dynasty,  exemplary,  exercise, 
exquisite,  epocha,  fallacy,  gratitude,  harass,  impetus,  industry, 
integral,  interest,  interested,  interesting,  judicature,  lamentable, 
legislative,  legislator,  legislature,  maxillary,  mercantile,  miscel- 
lany, mischievous,  oasis,  pedestal,  perfected,  posthumous,  pres- 
bytery, puissant,  recognize,  recreate,  recreative,  repertory,  sepul- 
chre, sinister,  specialty,  speculative,  towards,  vehement,  vehe- 
mently, yesterday. 

§  141.  Words  accented  on  the  second  syllable. 

Abdomen,  advertisement,  albumen,  alumen,  acumen,  anchovy, 
antipodes,  aroma,  aruspice,  aspirant,  asylum,  Augean,  bissextile,  bi- 
tumen, camelopard,  catastrophe,  centrifugal,  centripetal,  ceramic, 
Cerberian,  cerulean,  clandestine,  clandestinely,  committee,  compen  • 
sate,  component,  computable,  concentrate,  condensate,  condolence 
confiscate,  consummate,  contemplate,  contemplative,  coquetry,  de- 
corum, defalcate,  demonstrate,  deponent,  devastate,  diploma,  diplo- 
macy, diplomatist,  distribute,  divertise,  divertisement,  enervate,  ex- 
ponent, extirpate,  fraternize,  Herculean,  horizon,  idea,  imbecile,  in- 
culcate, inculpate,  indisputable,  inquiry,  irrefragable,  interpolate, 
interstice,  intrepid,  liceum,  marmorean,  misanthropy,  museum ,  ob- 
durate, obduracy,  opponent,  Orion,  pantheon,  philanthropy,  pilas- 
ter, precedence,  Promethean,  promulgate,  pygmean,  recital,  recus- 
ant, remonstrate,  respiratory,  respirable,  restorative,  retributive,  se- 
questrate, subsidence,  Tartarean,  tiara,  ubiquist,  vesicular,  xerodes, 
zygoma. 

$  142.  Words  accented  on  the  third  syllable. 

Atheneum,  Atlantean,  acquiescent,  bastinado,  benefactor,  circum* 
jacent,  coadjutor,  coriander,  colossean,  colosseum,  convalescent, 
desperado,  empyrean,  Epicurean,  European,  evanescent,  hyperbor 
san,  hymenean,  ignoramus,  literati,  simultaneous,  subterraneao 
ultimatum. 


CHAPTER   r. 

PRONUNCIATION. 

1 113.  Articulation  ami  accentuation  are  the  two  elements  el 
pronunciation  ;  the  former  is  the  more  controlling  ele- 
ment, 

When  a  word  is  properly  articulated,  and  properly- 
accented,  it  is  rightly  pronounced.  Articulation, 
however,  is  the  more  fundamental  and  controlling 
element.  The  formation  of  the  elementary  sounds, 
and  of  syllables,  is  obviously  the  most  essential  ele- 
ment of  the  formation  of  words.  Also  the  articulat- 
ing organs  come  into  play  in  jointing  syllables 
together  to  form  words,  as  truly  as  in  forming  the 
elementary  sounds,  and  in  jointing  them  together 
into  syllables.  Moreover,  a  groat  number  of  words 
in  English  are  monosyllables,  in  which  case,  articu- 
lation is  identical  with  pronunciation.  Notwith- 
standing, however,  that  articulation  and  accentua- 
tion, taken  together,  are  precisely  equivalent  to  pro- 
nunciation, the  propriety,  and  even  the  necessity  of 
treating  pronunciation  under  a  separate  head,  will  be 
obvious  from  what  is  to  follow. 


240  The  Elements  of  Poweb. 

^  14  i.  P2*on:mciatiini  is  the  oral  speaking  of  words. 

We  nave  seen  that  language,  in  the  deepest  sense 
oi  the  word,  is  identical  with  oral  speech.  Hence  it 
is  that  what  we  have  to  keep  our  minds  intent  upon, 
ii,  all  linguistic  studies,  is  the  sounds  themselves,  as 
distinguished  from  their  literal  symbols.  This  is 
the  clue  which  guides  us  to  the  true  nature,  and 
inmost  secret  of  language.  For  the  letters  of  the 
alphabet  are  mere  symbols  (often  extremely  clumsy, 
and  always  inadequate)  of  the  elementary  sounds  of 
which  words  are  composed.  And  even  a  perfect 
symbolization,  if  that  were  possible,  would  be  only  a 
mechanical  contrivance,  of  which  the  highest  use 
would  be  that  of  serving  as  a  means  of  reproducing 
the  sounds  represented.  But  speech  is  an  organic 
and  vital  development  of  the  laws  of  thought — 
thought  striving  to  embody  itself  more  and  more 
perfectly  in  oral  sounds.  When,  therefore,  the  literal 
symbols  are  regarded  and  treated  as  elements  and 
powers  in  the  formation  of  words,  language  becomes 
incomprehensible. 

§  145.  Pronunciation  ought  not  to  be  conformed  to  the  syia- 
bolization. 

There  is  no  more  fruitful  source  of  errors  in  pro- 
nunciation than  the  attempts,  which  are  constantly 
made,  to  conform  the  sounds  to  the  spelling  of  the 
words.  All  such  attempts  proceed  upon  a  false 
principle,  and  are  essentially  impracticable.  This 
may  be  evinced  from  the  following  considerations. 


Pronunciation.  241 

1.  Such  itiempts  reverse  the  original  method  of  pro- 
cedure by  which  language  was  reduced  to  writing. 

Every  language,  before  it  was  reduced  to  writing, 
had  its  own  pronunciation  as  fully  developed  and 
perfected  as  it  became  afterwards.  The  original 
procedure  of  writing  down  a  language  at  first,  is,  of 
course,  that  of  conforming  the  symbolization  to  the 
sounds,  not  the  sounds  to  the  symbolization.  The 
attempt  to  conform  the  pronunciation  to  the  spelling, 
therefore,  reverses  this  whole  process,  and  hence  it 
can  never  fail,  in  the  degree  in  which  it  is  success- 
ful, to  mar  and  deform  the  language. 

2.  Pronunciation  cannot  be  fixed  in  any  symboliza- 
tion. 

Speech,  because  it  is  an  organic  and  vital  devel- 
opment, is  always  in  a  process  of  change ;  it  is 
always  moving  on  the  line  of  the  development  of 
thought  and  life.  Hence  the  pronunciation  of  a 
\anguage  can  never  be  permanently  fixed  ;  and  if  it 
could,  it  would  tend  to  arrest  human  progress.  The 
symbolization,  on  the  contrary,  because  it  is  a  mere 
conventional  and  mechanical  contrivance,  constantly 
tends  to  become  indurated,  and  difficult  of  modifica- 
tion. Hence  the  necessary  divergence,  in  the  course 
of  time,  of  the  pronunciation  from  the  symbolization. 
The  causes  which  produce  this  effect  are  always  at 
work  in  living  tongues  which  have  been  reduced  to 
writing.  Their  ultimate  result  is  that  the  written 
becomes  a  dead  language ;  for  the  fife  of  a  language 
always  follows  the  sound,  and  not  the  symbol.  Un- 
der the  influence  of  these  causes  for  thousands  of 


242  The  Elements  op  Power 

years,  the  spoken  language  and  dialects  of  China 
have  become  so  different  from  the  written  and  class- 
ical Chinese,  that  the  most  perfect  knowledge  oi 
either  is  hardly  an  introduction  to  the  other.  For 
beyond  a  question,  when  the  sounds  of  the  classical 
Chinese  were  first  reduced  to  writing  (and  for  ages 
subsequently)  the  written  language  was  the  same 
with  the  spoken ;  but  the  pronunciation  gradually 
receding  from  the  symbolization,  the  present  result 
has  been  at  last  reached.  The  case  is  precisely  sim- 
ilar with  the  classical  Sanskrit,  and  the  living  dia- 
lects of  that  family  which  are  now  spoken  by  the 
people  of  India.  Thus  it  was  also  that  the  Latin 
became  a  dead  language,  and  that  the  Romance 
tongues  grew  up  under  it.  And  the  same  causes 
have  been  at  work  for  centuries  in  these  last  men- 
tioned tongues,  until  now  in  French  e.  g.  the  spell- 
ing is  hardly  any  clue  to  the  pronunciation.  What 
would  be  the  consequence  if  the  French  people 
should  attempt  to  pronounce  their  words  as  they  are 
spelled ! 

§  146.  The  symbolization  ought  to  be  conformed  to  the  pro- 
nunciation. 

This  is  now  becoming  so  obvious  to  those  who 
have  given  the  subject  adequate  attention,  as  to 
leave  little  doubt  that  the  change,  with  whatsoever 
temporary  inconvenience  it  may  be  attended,  cannot 
be  much  longer  delayed.  The  objections  which 
have  been  urged  against  it  are  rapidly  giving  way 
in  the  minds  of  our  ablest  scholars,  such  as  Mai 


Pronunciation.  243 

Muller,  and  Professor  Whitney,  before  a  more  full 
recognition  of  the  fundamental  principle  that  the 
essence  ol  language  is  significant  sound,  and  before 
the  urgent  necessity  pressing  more  and  more  heavily 
upon  us.  For  it  is  now  demonstrable  that  if  this 
change  be  not  effected,  we  must  in  time  have  a  writ- 
ten language  totally  different  from  the  spoken  one, 
like  the  Chinese ;  in  other  words,  classical  English 
must  become  a  dead  language.  Our  symbolization, 
having  been  radically  defective  at  first,  has  become 
a  perfect  chaos,  which  defies  all  attempts  to  reduce 
it  to  order,  and  from  which  it  is  not  only  impossible 
to  gather  the  true  sounds,  or  pronunciation  of  the 
words,  but  which  exerts  a  mighty  influence  to  lead 
us  all  astray.  For  we  have,  in  the  first  place,  a  vast 
number  of  symbols,  which  represent  no  sound  at  all, 
that  is,  silent  letters ;  few  of  which,  if  any,  were  silent 
when  the  language  was  first  reduced  to  writing.  In 
the  second  place,  most  of  the  symbols  represent  each 
a  variety  of  different  sounds ;  and,  in  the  third  place, 
the  same  sound  is  often  represented  by  a  great 
number  of  different  symbols.  The  sound  of  i  as  in 
pin  e.  g.  is  represented  by  as  many  as  fifteen  differ- 
ent signs ;  and  the  case  is  nearly  as  bad  with  each 
of  the  other  nineteen  or  twenty  vowels  and  diph- 
thongs in  the  language.  All  the  peculiar  difficulties 
of  English  pronunciation  arise  from  this  chaotic 
state  of  our  symbolization.  For  there  is  no  such 
confusion  in  the  sounds  themselves.  Here  we 
shall  find  law  and  order  and  beauty,  as  in  all  the 
developments  and  manifestations  of  organic  life—  » 


244:  The  Elements  of  Power. 

regularity  and  certainty,  in  fact,  like  that  of  instinct 
For  oral  speech  is  a  true  product  of  the  instincts  ol 
reason  in  man. 

g  147.  A  word  is  an  articulate  sound  expressing  a  single 
thought. 

A  single  articulate  sound  expressing  a  single 
thought,  is  the  differential  character  of  a  word. 

1.  A  word  expresses  a  single  tJiought. 

A  sound  which  does  not  express  any  thought  or 
sense,  is  not  a  word ;  nor  can  any  word  express 
more  than  one  thought  at  the  same  time,  or  in  the 
same  connection.  This  one  thought,  however,  may 
be  composed  of  any  number  of  different  elements, 
but  these  will  always  be  expressed  in  a  unified  or 
generalized  form,  as  in  such  words  as  horse,  man, 
world,  thing. 

2.  The  means  of  expressing  this  unity  of  tJiougM  is  a 
corresponding  unity  of  sound. 

In  order  that  this  unity  of  thought  may  be  ada- 
quately  expressed,  it  requires  a  corresponding  unity 
of  sound,  which,  therefore,  is  essential  to  the  nature 
of  a  word.  But  this  unity  of  sound,  as  in  the  case 
of  the  thought  which  it  expresses,  may  be  composed 
of  many  different  elements,  as  in  the  words,  flail, 
education,  polysyllable. 

1 148.  There  are  four  causes  of  nnity  of  sound  in  words,  the 
single  impulse  of  the  voice,  the  primary  accent,  the  pause 
before  and  after  the  word,  and  the  1  ransition  sounds. 

Of  these  four  distinct  causes  of  unity  of  sound  in 


Pronunciation.  245 

words,  the  first  is  limited  to  monosyllables,  the  sec- 
ond to  polysyllables,  and  the  last  two  are  common 
to  all  words. 

1.  Monosyllables  an  pronounced  with  a  single  vocal 
impulse. 

This  fact  has  been  already  exhibited  in  th6  dis- 
cussion of  the  syllable  (§116).  It  is  the  most  influ- 
ential cause  of  all  that  contribute  to  give  unity  of 
sound  to  words ;  and  taken  together  with  the  others 
that  co-operate  with  it  to  produce  the  same  result,  it 
gives  the  highest  degree  of  unity  to  monosyllables, 
and  thus  renders  them  the  most  perfect  of  all 
words. 

2.  Polysyllables  take  but  one  primary  accent. 

This  cause  gives  unity  of  sound  to  all  words  of 
more  than  one  syllable.  After  what  manner  it  doek 
this  has  been  already  explained  in  treating  of  the 
functions  of  the  accent  (§  130 — 1). 

3.  Every  word  is  preceded  and  followed  by  a  pause. 

This  is  the  case  in  all  connected  English  speak- 
ing. The  pause  may  be  very  slight,  so  as  to  be  al- 
most insensible,  but  it  is  still  there,  and  may  com- 
monly be  perceived  by  a  good  ear,  with  close  atten- 
don.  It  is  admirably  symbolized  in  writing  and 
printing  by  the  little  blank  spaces  between  the 
words.  Its  function  is  to  separate  each  word  from 
the  others  with  which  it  stands  connected  in  speech, 
to  circumscribe  it,  so  to  speak,  and  thus  to  give  it  a 
defined  unity  of  sound.  This  cause  of  urity  is  of 
oourse,  common  to  all  words. 


246  The  Elements  of  Power. 

4  The  elements  of  each  word  are  cemented  together 
by  transition  sounds. 

These  transition  sounds,  which  are  produced  bj 
the  voice  in  passing  from  one  element  to  another, 
have  never  been  treated  of.  Professor  Day  sup- 
poses himself  to  be  the  first  who  has  ever  allude  d 
to  them.  Yet  they  constitute  a  considerable  pro- 
portion of  the  sound  of  almost  every  word.  W6 
shall  find  that  they  will  enable  us  to  explain  a  great 
number  of  the  apparent  anomalies  of  English  pro- 
nunciation. 

(1).  Transition  sounds  are  made  by  the  voice  in 
passing  from  one  element  of  a  word  to  another. 
That  there  are  such  sounds  becomes  evident  upon 
a  little  attention.  For  whilst  the  organs  are 
passing  from  their  position  in  the  formation  of  one 
element  to  that  of  the  next  in  the  same  word,  the 
voice  or  breath  is  not  suspended,  but  continues  to 
flow  out,  except  in  the  case  of  the  hard  checks,  g,  d, 
b,  k,  t,  p.  Thus  in  the  word,  ear,  the  a  being  silent, 
the  sound  of  e  passes  into  that  of  r  by  a  vocal 
transition,  which  is  neither  that  of  e  nor  r,  but  par- 
takes of  the  nature  of  both.  Between  different  syl- 
lables the  transition  sound  is  still  more  sensible,  aa 
between  e  and  a  of  the  word,  create.  Frequently 
these  sounds  are  identical  with  some  of  the  elements 
themselves,  in  which  case  they  are  sometimes  ex- 
pressed. Thus  in  the  word  Iowa  e.  a.  w  represents 
nothing  but  the  transition  sound  made  by  the  voice 
in  passing  from  o  to  a,  and  the  w  3rd  is  pronounced 
exactly  as  if  it  were  spelled  Ioa.     Commonly,  how- 


Pronunciation.  24^ 

ever,  these  sounds  are  not  represented  at  all  in  the 
spelling.  Thus  in  the  words,  nature,  virtue- -pro- 
nounced, natshure,  virtshue — the  transition  sound 
between  the  two  syllables  is  precisely  that  of  sh. 
but  it  docs  not  appear  in  the  spelling  of  either  word. 
These  transition  sounds  are  aptly  symbolized  by 
the  little  intermediate  strokes  which  connect  the 
different  letters  in  current  writing;  and  it  would 
seem  that  printing  would  be  a  more  perfect  symbol 
than  it  now  is,  if  its  letters  were  joined  together  in 
a  similar  manner 

(2.)  A  principal  function  of  these  transition  sounds 
is  to  give  unity  to  the  sound  of  each  word.  These 
transition  sounds  are  never  heard  between  one  word 
and  another,  or  only  in  faulty  articulation;  other- 
wise there  would  be  no  pause  before  and  after  every 
word.  But  between  the  different  elements  and  syl- 
lables of  each  word  they  are  very  frequently,  and 
often  necessarily  introduced.  The  effect  of  this  is  to 
cement  the  elementary  sounds  and  syllables  togeth- 
er, thus  giving  wholeness  and  unity  to  the  sound  of 
every  word,  as  the  bricks  or  stones  of  a  building 
are  cemented  together  with  mortar.  This  cause  of 
unity  is  also  common  to  all  words. 

$  149.  Pronunciation  is  an  important  element  of  power  in 
delivery. 

A  correct  and  elegant  pronunciation  is  an  ele- 
ment of  power  in  delivery  which  can  hardly  be 
overestimated.  It  has  been  said  that  it  makes  the 
vords  of  a  speaker  like  new  gold  coin,  as  they  drop 


243  The  Elements  of  Poweb. 

from  the  mint,  bright  and  clean-cut,  with  then 
legends  or  superscriptions  so  plain  that  they  can  be 
read  without  effort,  and  the  value  of  the  coin  recog- 
nized at  sight ;  whilst  bad  pronunciation  makes  the 
words  like  old,  rusty,  defaced  coin,  with  theii 
legends  blurred  or  worn  away,  so  that  it  requires  tho 
study  and  skill  of  an  antiquarian  or  numatist  to  de- 
termine their  value. 

§  150.  The  pronunciation  here  given  follows  the  best  English 
and  American  authorities. 

English  pronunciation,  when  considered  apart 
from  the  totally  inadequate  and  chaotic  symboliza- 
tion,  is  not  of  so  uncertain  or  anomalous  a  charac- 
ter as  is  commonly  supposed.  Almost  all  its  ap- 
parent anomalies  arise  from  the  groundless  notion 
that  somehow  the  sounds  ought  to  be  conformed  to 
the  spelling,  instead  of  the  spelling  to  the  sounds. 
Considered  apart  from  this  cause  of  difficulty,  it  is 
probably  as  regular,  and  as  capable  of  being  re- 
duced under  general  euphonic  laws,  as  that  of  any 
other  language.  The  examples  given  below  to  esta- 
blish such  laws,  are  selected  mostly  from  words  that 
are  often  mispronounced,  of  which  the  true  pronunc- 
iation is  here  given.  But  it  should  be  distinctly  un- 
derstood that  no  new  or  unauthorized  pronuncia- 
tions have  been  introduced,  except  in  a  few  cases  ol 
apparent  inadvertency  of  the  best  English  and 
American  authorities,  which,  with  this  exception, 
have  been  uniformly  followed.  But  where  these 
authorities  differ  among  themselves,  ard  it  has  be* 


Pronunciation.  249 

come  necessary  to  choose  between  them,  the  laws 
of  euphony  have  been  allowed  to  influence  the 
choice.  What  authorities  have  been  followed  ia 
any  particular  case,  may  commonly  be  seen  by  refer- 
ence to  "Worcester's  large  dictionary ;  which  is 
here  recommended  as,  upon  the  whole,  the  best  ex- 
hibition of  the  orthoepy  of  the  language. 

§  151.  The  tonics  in  a,  from  the  greatest  to  the  least  open- 
ness of  the  organs,  are  as  in  arm,  all,  ask,  hat,  care, 
fate. 

These  six  tonics  are  here  arranged  in  a  regular 
series  (except  in  the  case  of  a  as  in  all)  with  the 
organs  constantly  flattening  and  approaching  to 
contact.  The  exception  might  properly  be  placed 
in  another  series,  but  is  retained  here  for  reasons 
given  below.  The  sign  here  chosen  for  these  sounds, 
namely,  the  letter  a,  has  been  found  the  most  con- 
venient for  practical  treatment,  although  they  are 
not  unfrequently  otherwise  represented. 

1.  A  as  in  arm,  represented  by  a,  au,  e,  ea. 

This  sound  is  formed  with  the  mouth  simply  open, 
the  organs  in  their  natural  position,  and  farther 
apart  than  in  any  other  sound  of  the  language. 
Consequently  it  is  least  modified  by  the  action  of 
the  organs,  and  has  the  strongest  vocality  of  all.  It 
is  often  confounded  with  a  as  in  care,  and  in  all,  and 
with  o  as  in  nor  ;  as  in  psaalm  or  psawlm,  for  psalm; 
and  port,  stort,  for  part,  start.  The  signs  by  which 
it  is  represented  in  the  following  exan?ples  are  in 
itajic  letters. 


250  The  Elements  of  Power. 

Are,  aunt,  avail t,  balm,  bath,  calf,  calm,  clerk,  craunch,  daunt 
dauntless,  embark,  flaunt,  gape,  gaunt,  gauntlet,  guano,  guard, 
half,  halve,  haunt,  haunch,  hark,  hearken,  impart,  jaunt,  jaun- 
dice, knarL  laugh,  laundry,  laundress,  Ma,  maunch,  maunder, 
u*rd,  Pa,  pariah,  palm,  psalm,  qualm,  rajah,  ragout',  saunter, 
acrgeant,  stanch,  staunch,  aulta'na,  taunt,  upbar,  varnish,  yard, 


2.  A  as  in  all — a,  au,  aivf  oa,  ou. 

Formed  by  rounding  the  aperture  and  cavity  of 
the  mouth  a  very  little  from  the  position  of  the  pre- 
ceding a  as  in  aim,  and  by  throwing  the  resonance 
of  the  voice  farther  back.  The  sound  is  very  nearly 
related  to  o  as  in  nor.  It  is  placed  here  because  it 
is  formed  by  a  very  slight  modification  of  the  posi- 
tion of  the  organs  from  the  preceding,  and  because 
it  is  most  frequently  represented  by  a,  either  alone, 
or  in  combination  with  other  signs. 

wilder,  alderman,  almanac,  altar,  alterative,  appall,  audacious, 
auspicious,  aught,  avaunt,  aioL  ball,  batol,  bought,  brought, 
broad,  call,  calk,  chalk,  daub,  enthrall,  fall,  falcon,  fought, 
groat,  hall,  hale,  halter,  haul,  jaio,  law,  maw,  naught,  nought, 
ought,  pall,  paio,  paunch,  quart,  quarter,  raw,  saucer,  sought, 
thought,  vault,  vaunt,  want,  wrought,  yatcl. 

3.  A  as  in  ask — a,  au. 

Formed  by  flattening  the  mouth  cavity  a  very 
tittle  from  its  position  in  a  as  in  arm,  and  by  draw- 
ing the  corners  of  the  mouth  a  little  farther  from 
each  other — an  intermediate  sound  between  a  in 
arm,  and  a  in  hat.  It  is  most  frequently  foUowed 
by  nasal  or  atonic  sounds,  except  when  it  ends  a  syl- 
lable. An  unaccented  a  at  the  end  of  a  word  usu- 
ally represents  this  sound.     In  some  sections  of  the 


Pkonunciation.  251 

country  it  is  confounded  with  a  in  arm,  in  others 
with  a  in  care. 

Aft,  after,  aghast,  alas,  Anna,  answer,  ant,  bask,  basket,  blanch, 
brass,  cast,  ca&tLe,  clasp,  craft,  dance,  draft,  draught,  enchant, 
example,  fast,  flask,  ghastly,  graft,  grant,  grass,  haft,  hasp,  idea, 
lance,  last,  mask,  mass,  mast,  nasty,  pant,  pass,  passable,  pastor 
quaff,  raft,  sample,  slander,  slant,  task,  vast,  waft. 

4.  A  as  in  hat — a,  ai. 

Formed  by  a  position  of  the  mouth  organs  differ- 
ing from  the  preceding  precisely  as  that  differs  from 
a  in  arm.  It  is  about  as  far  removed,  on  the  same 
line  of  change,  from  a  in  ask,  as  that  is  from  a  in 
arm.  It  is  often  confounded  with  the  preceding, 
jjid  with  the  following. 

.Abba,  abbey,  apple,  actual,  adapt,  ag'ile  apparel,  are'na,  bade, 
band,  bank,  bland,  blandish,  blank,  cabal',  can,  cant,  dandle, 
dandy,  er'rant,  fan,  flank,  frank,  frantic,  gather,  glacier,  hand, 
jam,  kra'al,  lamb,  land,  man,  maintain',  national,  or' deal,  Or- 
leans, parentage,  patent  (noun),  patronage,  plaid,  railery,  ran- 
dom, rant,  rational,  sacrament,  sacrifice,  syllab'ic  tandem, 
vantage,  Zante. 

5.  A  as  in  care — a,  ai,  ay,  e,  ea,  ey. 

Formed  by  still  further  flattening  the  mouth,  and 
drawing  the  corners  a  little  more  apart — differing 
very  slightly  from  the  preceding.  The  distinctive 
character  of  this  tonic  seems  to  be  mostly  due  to  the 
influence  of  the  peculiar  subtonic  r,  by  which  it  is 
r.early  or  quite  uniformly  followed. 

Air,  apparent,  bare,  bear,  chair,  chary,  dare,  declare,  e'er,  fair, 
fare,  glare,  hair,  heir,  impair,  lair,  mare,  ne'er,  pear,  prayer, 
rare,  repair,  scare,  scarce,  stare,  swear,  tear  (verb)  there,  where, 
(Therefore,  wear. 


252  The  Elements  of  Powek. 

6.  A  as  in  fate — a,  aa,  ae,  ai,  ao,  ay,  e,  ea,  ex,  ey. 

Formed  by  carrying  the  change  of  the  preceding 
a  little  further — the  flattest  of  all  the  tonics  in  a 
but  differing  from  all  the  others  in  that  it  is  clearl) 
a  diphthong,  which  terminates  with  the  sound  of  i 
as  in  pin.  Hence,  notwithstanding  the  near  ap- 
proach of  the  organs  to  contact,  it  has  a  strong  vo- 
cality.  In  words  transferred,  with  little  or  no 
change,  from  the  Latin  and  Greek,  it  is  often  con- 
founded with  a  as  in  arm,  contrary  to  the  best  Eng- 
lish usage. 

Aaxon,  able,  aerie,  Ate,  afflatus,  ancient,  angel,  audacious, 
bane,  bathos,  bima'nous,  Canaanite,  chamber,  change,  chasten, 
oom'rade,  date,  data,  datum,  dairy,  danger,  deca'dence,  deca- 
dency, drama,  erra'tuin,  erra'ta,  eyry,  feign,  freight,  gaitge,  gaol, 
Hades,  heinous,  halo,  inveigh,  Janus,  Kalif,  literati,  literatim. 
Magi,  manage,  matins,  matron,  message,  missionary,  nation, 
orange,  Parian,  patent  (adjective)  patriot,  patriotism,  patron,  Pa'- 
ternoster,  Pa'tripassian,  Pharoah,  plait,  pra«/,  quail,  range,  rail, 
ratio,  sail,  saline,  secretary,  sol'ace,  stain,  swathe,  tete-a-tete 
they,  va'demecum,  verbatim,  vaga'ry,  vagrant,  voracious,  voyage, 
yea,  weigh,  zany. 


§  152.  The  tonics  in  i  are  as  in  pine,  pin. 

These  two  sounds  may  seem  to  be  very  different, 
but  they  stand  in  the  closest  relations  to  each  other. 
Hence  they  are  interchanged  more  frequently  per- 
haps than  any  others.  It  would  take  a  very  long 
list  of  words  to  correct  only  the  more  common  mis- 
pronunciations which  arise  from  this  cause. 

1.  I  as  in  pine — i,  ai,  ei,  ey,  eye,  ie,  y,  uy. 
Properly  a  diphthong  or  slide,  commencing  witi 


Pbonunciatton.  252 

the  organs  in  a  very  open  state,  with  the  roof  of  the 
mouth  raised  considerably  higher  than  in  the  most 
open  of  the  preceding  tonics,  and  with  the  corners 
of  the  mouth  drawn  farther  apart.  Thus  commenced, 
it  continues  in  a  slide,  the  tongue  and  the  roof  of 
the  mouth  constantly  approaching  each  other,  until 
it  closes  with  the  sound  of  i  as  in  pin. 

^lisle,  ad'vertise,  bind,  biog'raphy,  biol'ogy,  brig'antine,  buy, 
choir,  chirog'raphy,  col'ambine,  crys'talline,  cyn'osure,  declina- 
ture, despite',  detri'tus,  diam'eter,  die,  di' verse,  dio'cesan,  echi'- 
nus,  edify,  ey'as,  eye'lash,  fe'line,  fe'rine,  flu'orine,  gentile,  guy, 
height,  heli'acal,  hydrom'eter,  hyper'bole,  i'odine,  iam'bic,  gyra- 
tion, kind,  lilac,  literati,  mi'crocosm,  mi'croscope,  minus,  Mithras, 
mus'cadine,  nihil,  ni'hilism,  oblige,  oblique,  pan'tomime,  pari'etal, 
piratical,  prime'val,  quiescent,  rhinoc'eros,  respi'ratory,  sacrifice, 
sac'charine,  sat'urnine,  ser'pentine,  sinecure,  spikenard,  thyme, 
tribu'nal,  tri'logy,  tri'lobite,  u'terine,  vie,  virus,  wise'acre,  zymol  - 

ogy- 

2.  I  as  in  pin — i,  at,  ei,  oit  ui9  e,  ee,  ey,  ia,  ie,  a,  ay, 
o,  u,  y. 

Properly  a  section  cut  off  from  the  end  of  the  pre- 
ceding tonic,  the  organs  being  in  precisely  the  same 
position  in  forming  this,  as  at  the  close  of  that.  It 
is  one  of  the  feeblest  of  the  tonic  sounds,  for  the 
reason  that  it  is  formed  with  the  organs  very  near 
together.  It  will  be  observed  that  we  have  here 
no  less  than  fifteen  different  signs  representing  the 
same  sound ;  and  besides  this,  the  sound  is  often 
omitted  where  the  sign  remains.  Thus  the  letter  i 
is  almost  always  silent  when  preceded  by  the  sound 
of  sh,  or  z  as  in  azure,  and  followed  by  a,  e,  o ;  as  ^___^ 
anxious,  fashion,  nation,  partial,  patient,  precious, 

I    UN1VERSIT 


254  The  Elements  of  Power 

vision,  pronounced,  angshus,  fashun,  nashun,  pat- 
Bhal,  pashent,  preslius,  vizun  (z  as  in  azure). 

Adaman'tine,  advertisement,  agile,  aquiline,  bargain,  been, 
breeches,  busy,  business,  carriage,  certain,  chirae'ra,  chimer'ical, 
chrysalis,  cowardice,  conduit,  discipline,  diver' tise,  duc'ut,  £hg. 
Land,  fa'vorite,  fidelity,  finance',  finesse',  forcible,  foreign,  for- 
feit, frail' chise,  galley,  gen'uine,  hos'tile,  hypochon'driac,  irrita- 
bility, irresistible,  intes'tine,  ju'venile,  lettuce,  lib'ertine,  mari- 
time, mer'cantile,  mas'culine,  marriage;  min'ute,  minute',  mir'a- 
cle,  mtrac'ulous,  mirror,  mountain,  myr'iad,  mythol'ogy,  nec'ta- 
rine,  Pal'atine,  philanthropy,  philol'ogy,  philos'ophy,  prac'tice, 
pretty,  pu'erile,  rally,  rallied,  ra'pine,  Sunday,  Monday,  etc. 
tally,  tor'toise,  tribune,  tyranny,  unit,  valley,  villain,  virulent, 
vh  m,  women,  xi'phias,  zinc 

§  153.  The  tonics  in  e  are  as  in  err,  pet,  eve. 

These  three  sounds  also  are  here  placed  in  reg- 
ular series  from  the  greatest  to  the  least  openness 
of  the  organs.  They  are  all,  however,  of  compara- 
tively feeble  vocality. 

1.  E  as  in  err- — e,  eat  i,  y. 

Formed  by  raising  the  tongue  a  little  from  its 
position  in  a  as  in  arm,  by  slightly  contracting 
the  mouth  cavity,  and  by  throwing  the  vocal  reson- 
ance a  little  higher  up.  This  sound  is  very  nearlv 
the  same  with  that  of  u  in  but,  with  which,  therefore, 
it  is  frequently  comfounded.  Like  the  sound  of  a 
in  care,  it  is  almost  always  followed  by  r,  the  pecu- 
liar influence  of  which  seems  to  determine  its  char- 
acter. 

Alert,  berth,  birth,  birch,  certain,  der'nier,  dirge,  dirk,  dirt, 
earL  early,  earnest,  earth,  expert,  fern,  fertile,  first  g*rm,  gird, 
girl,   guerdon    her,    herb,   heard,   hearse,  immerse,    jerk,  kernel 


Pronunciation.  255 

/earn,  mercer,  meroy,  mirth,  mirky,  rm/rrh,  myrtle,  ner\  e,  perch 
person,  quirk,  re'pertory,  serve,  servant,  serpent,  sir,  six  loin, 
squirm,  stir,  stirrup,  syrup,  term,  terse,  therefore,  verge,  vernal, 
virtue,  were,  yearn,  zerda. 

2.  E  as  in  pet — e,  ea,  ei,  eo,  ey,  a,  ai,  ay,  ie,  oe,  u. 

Formed  by  flattening  the  mouth  cavity  a  very  lit  • 
tie  from  its  position  in  the  preceding,  the  tongue 
being  a  little  more  raised  towards  the  roof  of  the 
mouth.  The  letter  e,  where  otherwise  it  would  rep- 
resent this  tonic,  is  frequently  silent.  The  follow- 
ing are  the  most  important  cases,  although  not 
without  exceptions. 

(1.)  At  the  end  of  syllables  and  words,  as  in  ace, 
careless,  time,  sublime,  wake. 

(2.)  In  closing  unaccented  syllables  when  fol- 
lowed by  1,  n ;  as  in  drivel,  even,  grovel,  harden, 
heaven,  mantel,  navel,  ousel,  ravel,  seven,  shekel, 
shovel,  shrivel,  snivel,  weasel ;  pronounced,  drivl, 
evn,  gravl,  hardn,  heavn,  etc. 

(3.)  In  ed  not  preceded  by  d,  t,  at  the  end  of 
verbs  and  participles ;  as  in  feared,  praised,  tossed, 
pronounced  feard,  prazd,  tost.  The  e  has  its  full 
sound,  however,  in  the  following  participles  used  as 
adjectives,  beloved,  blessed,  cursed,  learned.  Thus 
we  say,  He  learnd  well,  and  became  a  learned 
man.  It  has  its  full  sound  also  in  adjectives  ending 
in  ed,  as  in  horned,  naked,  ragged,  striped,  winged. 

This  tonic  is  frequently  confounded  with  e  in  err. 
or  u  in  but.  Thus  American,  error,  chicken,  chil- 
dren, herald,  are  mispronounced,  Amurica,  urror, 
chickun,  childrun,  hurald. 


256  The  Elements  of  Poweb. 

Again,  against,  amenity,  ate  (did  eat)  assafcetida,  berry,  bery\ 
bevel,  bury,  careless,  carelessness  (in  less  and  ness,  wherevei 
they  occur)  celibacy,  ce'ment,  cer'ebraL  chimer'ical,  deficit, 
defalcation,  deluge,  departmental,  dep'recafce,  deprivation,  der'o- 
lict,  descant,  des'tine,  des'ultory,  des'uetude,  detonate,  det'riment, 
l?voir  ,  dreamt,  edible,  endeavor,  enemy,  error,  errand,  evolution, 
eof,  feofment,  felon,  fetichism,  forget,  friend,  get,  genealogy,  herald, 
heroine,  heroism,  imbe  cile,  inherit,  instead,  jeopard,  jeopardy,  jeal- 
ousy, let,  lev'ee,  many,  men' ace,  measure,  nonpareil',  parliament, 
peasant,  petal,  pleasure,  poem,  prebend,-  predicate,  preface,  prelate, 
presage,  presentee',  prestige,  question,  qucestor  or  questor,  realm, 
rec'reant,  rec'reate,  recreation,  reg'imen,  ren'dezvous,  said,  saiih, 
ster'ile,  ster'eoscope,  ster'eotype,  tepid,  terror,  treble,  very,  weapon, 
yellow,  yes,  yet,  yesterday,  zealot,  zealous. 

3.  E  as  in  eve — e,  ee,  ea,  ey,  ae,  i,  ie,  oe,  nay-. 

Formed  by  carrying  the  change  of  the  mouth  or- 
gans, described  in  the  preceding  tonic,  a  little 
further.  The  position  of  the  organs  is  almost  iden- 
tical with  that  which  they  occupy  in  the  formation 
of  i  as  in  pin ;  hence  there  is  very  little  difference 
between  the  two  sounds,  and  they  are  frequently 
confounded. 

^Jge'an,  beard,  breach,  caprice,  chime' ra,  courier',  deduce',  de- 
grade, de'viate,  devious,  east,  eel,  ear,  educe',  e'dile,  either, 
fe'line,  fe'rine,  fetich,  fcetus  or  fetus,  fierce,  fretum,  frequent, 
gleam,  grega'rious,  hear,  heat,  heave,  heathen,  heather,  implead, 
jejune',  key,  leap,  leaped,  leisure,  lenient,  lever,  ley,  lineage,  lin- 
eal, memoir,  mien,  neither,  niece,  or'deal,  Orleans,  cesoph'agus, 
petrol,  pique,  pre'fect,  pre'fix,  quay,  query,  quie'tus,  ravine',  rear, 
receive,  receipt,  recluse',  research',  resource',  seine,  sheik,  shire, 
siege,  sleek,  treason,  veal,  weal,  yeast,  zeaL 

|  154.  The  tonics  in  o  are  as  in  not,  nor,  old. 

In  these  three  tonics,  here  arranged  in  series,  as 
in  the  preceding  cases,  there  is  a  constant  approach 


Pronunciation.  257 

to  a  circular  position  of  the  lips,  corresponding  to 
the  form  of  the  letter  which  represents  the  sound. 

1.  0  as  in  not — o,  ou,  ow,  a,  au. 

Formed  by  rounding  the  mouth  cavity,  and  the 
aperture  of  the  lips,  a  very  little  from  their  position 
in  a  as  in  arm.  There  is  a  large  class  of  words, 
chiefly  such  as  have  o  followed  in  the  same  syllable 
by  nasal  or  atonic  sounds,  in  which  it  is  differently 
pronounced,  both  by  good  orthoepists,  and  good 
speakers.  Thus  the  words  gone,  lost,  shone,  soft, 
are  pronounced  with  the  o  either  as  in  not,  or  in 
nor.  The  weight  of  authority,  however,  greatly  pre- 
ponderates in  favor  of  the  former,  which  accordingly 
is  here  followed,  although  the  common  practice  in 
this  country  is  in  favor  of  the  latter.  This  letter  is 
often  silent  in  on  without  the  accent,  at  the  close  of 
dissyllables ;  as  in  bacon,  cotton,  deacon,  iron,  par- 
don, reason,  weapon,  pronounced,  bacn,  cotn,  deacn, 
irn,  pardn,  reasn,  weapn. 

Allot,  aloft,  adopt,  atrocity,  beaumonde',  bonnet,  boss,  brocade', 
broth,  cauliflower,  cloth,  closet,  coffee,  col' her,  cough,  conserve 
(in  con  always)  cost,  cross,  demagogue,  dialogue,  docile,  dog, 
dogma,  donkey,  doll,  domine,  Donatist,  dross,  emboss,  floss,  fore-> 
head,  frost,  froth,  gloss,  gone,  gong,  grovel,  hog,  loft,  Lombard, 
long,  loss,  lost,  mock,  Moslem,  mosque,  moth,  off,  offer,  offspring, 
oft,  often,  omelet,  orange,  plot,  process,  product,  progress,  protect 
prong,  quadruped,  quality  quandary,  quantity,  quarrel,  scoff, 
shone,  sol' ace,  strong,  swath,  thong,  trough,  volley,  wallet,  wand, 
wander,  wrong,  wroth,  yon,  yonder. 

2.  0  as  in  nor — u,  eo. 

Formed  by  rounding  the  aperture  of  the  lips  8 


258  Ihe  Elements  of  Porter. 

little  from  their  position  in  the  preceding,  and  bj 
enlarging  the  back  cavity  of  the  mouth,  so  as  tc 
throw  the  vocal  resonance  a  little  further  down. 
This  sound  differs  hardly  in  a  perceptible  manner 
from  a  in  all,  with  which  consequently  it  is  oftet 
confounded.  It  is  almost  always  followed  in  the 
same  syllable  by  r,  except  when  it  forms  a  diphthong 
with  i,  y. 

Adorn,  born,  corn,  donor,  dormant,  effort,  for,  forfeit,  George, 
horse,  indorse,  Jordan,  lorn,  morn,  morning,  morsel,  mortal,  north, 
ordain,  portion,  remorse,  resort,  snort,  sorcery,  torn,  worn. 

3.   0  as  in  old — o,  oo,  oa,  ou,  ow.  ao,  au,  eo,  eau,  ew. 

Formed  by  rounding  the  mouth  cavity  and  lips 
into  a  circle.  It  is  properly,  however,  a  diphthong 
or  slide  from  a  as  in  arm  to  u  as  in  ruie.  Followed 
by  r  in  the  same  syllable,  it  is  often  confounded 
with  a  as  in  all,  or  o  as  in  nor,  as  in  glaury  for 
glory;  and  when  it  is  correctly  sounded  in  such 
words,  there  is  a  sectional  tendency  to  suppress  the 
following  r,  as  in  foth,  cose,  for  forth,  coarse. 

Adore,  alone,  atrocious,  batteau',  bore,  bourn,  beaufet,  bro'cage, 
brooch,  coat,  coarse,  corse,  core,  court,  court'ier,  con  teau,  domes  'tic, 
donor,  door,  dough,  floor,  forge,  force,  fort,  four,  fourth,  forth,  goat 
glory,  gore,  gory,  hautboy,  hoar,  hoard,  hoarse,  hoary,  home, 
implore,  jotol,  joioler,  knoll,  loath,  loth,  loio,  mellow,  mourn,  no- 
menclature, only,  opinion,  port,  porter,  portly,  portion,  portrait, 
portray',  pour,  pou  tice,  poultry,  Pharaoh,  po'tentate,  resource', 
revolt,  roar,  sew,  sewer,  shew,  streio,  shore,  sloth,  snore,  soul, 
source,  stone,  sword,  to' wards,  trophy  trow,  uproar,  while,  woad 
von't  (will  not),  worn,  ye  raian,  zone. 


Pronunciation.  259 

§  Id 5.  The  tonics  in  n  are  as  in  hut,  full,  rale,  use. 

These  four  tonics  are  arranged  here  in  series  from 
greater  to  less  openness  of  the  lips.  They  are  all 
nearly  related  to  the  tonics  in  o,  and  consequently 
most  of  them  are  represented  by  o  as  often  perhaps 
as  by  u.  They  are  distinguished  from  each  other  by 
slight  shades  of  difference ;  hence  are  frequently 
confounded ;  but  the  best  speakers  are  careful 
give  to  each  its  precise  value. 

1.   U  as  in  hut — u,  ou,  o,  oe,  eo. 

Formed  by  relaxing  a  very  little  the  circular  posi- 
tion of  the  lips,  from  that  which  they  occupy  in  o  as 
in  old,  and  allowing  them  to  recede  a  little  further 
from  each  other.  When  followed  by  r  in  the  same 
syllable,  this  tonic  is  taken  by  some  orthoepists  for 
a  different  one ;  as  if  u  in  burn  were  different  from 
u  in  but.  This  distinction,  however,  seems  to  have 
arisen  from  ascribing  to  the  tonic  something  which 
is  really  due  to  the  influence  of  the  peculiar  subtonic 
r.  The  case  is  somewhat  similar  to  that  of  a  in  care, 
as  distinguished  from  a  in  fate,  and  to  that  of  o  in 
nor,  as  distinguished  from  a  in  all ;  but  the  differ- 
ence, in  this  case,  does  not  seem  to  be  sufficient  to 
warrant  a  distinction.  This  sound  is  often  con- 
founded with  o  in  not. 

Above,  atom,  bulge,  burden,  burr,  column,  come,  comely,  com- 
fit comfort,  companion,  conduit,  couple,  covenant,  cover,  covet- 
ous, Cromwell,  does,  done,  donjon,  dost,  dotli,  double,  dove,  due' at, 
dungeon,  dust,  emulge,  fulsome,  glut,  govern,  grievous,  gum,  hic- 
cough, hover,  journal,  journey,  joust,  love,  money,  mongrel, 
mother,  motion,  nation,  none,  of,  one  (pronounced  wun),  oven, 
plover,  ronion,  shove,  shovel,  sloven,  smother  some,  son,  southern* 


260  The  Elements  of  Power. 

sovereign,  supple,  touch,  union,  wonder,  wont  (accustomed)  word, 
world,  worm,  worth. 

2.  U  as  in  full — u,  o,  oo,  ou. 

Formed  by  bringing  the  lips  a  little  nearei 
together  than  in  the  preceding — often  confounded 
with  it,  and  with  u  as  in  rule. 

Book,  bosom,  brook,  bull,  could,  crook,  good,  hood,  hook,  look, 
mistook,  pull,  pullet,  pulley,  push,  put,  shook,  should,  stood,  took, 
wolf,  wolverene',  Wolsey,  woman,  wood,  wool,  would. 

3.  U  as  in  rule — u,  ue,  ew,  o,  oo,  oe,  ou,  oeu,  wo. 
This  tonic  differs  in  formation  from  the  preceding 

as  that  differs  from  the  one  that  immediately  pre- 
cedes it.  The  signs  u,  ue,  ew,  when  preceded  by  i 
in  the  same  syllable,  always  represent  this  sound. 
Some  orthoepists  maintain  that  it  is  represented  b\ 
these  signs  also  whenever  they  are  preceded  by  1  ii 
the  same  syllable ;  but  the  weight  of  authority  ih 
against  them,  and  in  favor  of  u  as  in  use.  A  middle 
ground  appears  to  be  the  true  one.  Accordingly 
when  these  signs  are  preceded  by  1  combined  with 
another  consonant  in  the  same  syllable,  they  are 
taken  to  represent  this  tonic,  as  in  flute,  glue,  slew 
pronounced,  floot,  gloo,  sloo.  This  is  the  common 
practice  in  England  and  this  country,  though  it  i3 
different  in  Scotland  and  Ireland.  The  difficulty  of 
pronouncing  such  words  with  u  as  in  use,  is  such  as 
fco  make  it  neai'ly  certain  that  it  will  be  entirely 
superseded  by  the  pronunciation  here  given.  But 
the  difficulty  is  not  so  great  when  these  signs  are 
preceded  by  1  alone ;  consequently,  in  such  cases,  the 
Bound  of  u  as  in  use  has  been  retained,  according  tc 
the  best  authorities. 


Pronunciation.  261 

Accou'tre,  accrue',  amour',  behove',  blue,  l>ousy,  breio,  canoe,  clue, 
courier',  couteau',  creto,  cruel,  doom,  drew,  fleio,  flue,  food,  gluti- 
nous, groom,  hoof,  hoop,  lose,  loose,  manoeu'ver,  move,  noose,  ooze, 
plume,  prove,  prune,  root,  route,  rou'tine,  rue,  ruby,  ruse,  shreio, 
soon,  soot,  stoop>  to,  too,  tour,  tourney,  tournure',  true,  tioo,  who, 
whom,  whose,  wound,  you,  yours. 

4   U  as  in  use — u,  ue,  ui,  eau,  eu%  ew,  ieu,  lew. 

Properly  a  diphthong  commencing  with  y  as  m 
yet,  and  closing  with  u  as  in  rule.  It  originated  in 
the  attempt  to  form,  with  English  organs,  the  pecu- 
liar sound  of  the  French  u,  introduced  by  the  Nor- 
mans ;  which  itself  is  formed  by  placing  the  tongue 
in  the  position  of  i  as  in  pin,  and  then  sounding  u 
as  in  rule.  The  English  substituted  y  for  i — two 
sounds  so  nearly  related  that  they  are  constantly 
interchanged — and  thus  formed  u  as  in  use.  Hence 
this  is  a  characteristic  English  sound,  unknown  in 
any  other  European  language  ;  and  as  such  it  should 
be  carefully  preserved  wherever  it  properly  occurs. 
For  there  is  a  strong  sectional  tendency  to  drop  the 
y  from  this  sound,  wherever  it  is  preceded  in  the 
same  syllable  by  d,  1,  n,  s,  t,  th,  and  thus  to  con- 
found it  with  u  as  in  rule.  But  the  force  and  beauty 
of  English  speaking  are  greatly  marred  and  enfeebled, 
when  such  words  as  allure,  new,  induce,  enthusiasm, 
assume,  tune,  are  pronounced  as  if  they  were  spelled, 
alloor,  noo,  indooce,  enthoosiasm,  assoom,  toon. 

Adieu,  assure,  attitude,  beauty,  collude,  constitution,  delude,  deic. 
due,  during,  elude,  feud,  feio,  grandeur,  heio,  hue,  illude,  juice, 
knew?,  lucid,  lurid,  lu'natic,  Matthiew,  news,  opportunity,  peio,  pre 
eume,  purlieu,  purview),  pursue',  relume',  resume',  sineio,  sue,  suit 
suicide,  superb,  superficial,  steio,  student,  tube,  tui'tion,  tulip 
Tuesday,  value,  voltigeur'. 


*Jb2  The  Elements  of  Power. 

§  156,  The  tonics  in  oi,  on,  are  as  in  oil,  our. 

These  are  the  only  diphthongs  in  the  language 
that  are  represented  each  by  two  signs;  but  they 
are  not  more  truly  diphthongal  sounds  than  a  in 
fate,  i  in  pine,  and  o  in  old. 

1.  Oi  as  in  ail — oi,  oy. 

This  sound  is  vulgarly  confounded  with  i  as  pine, 
as  in  jine  for  join,  spile  for  spoil ;  also  with  o  in  nor, 
as  in  oshter  for  oyster. 

Annoy,  assoiL  boll,  boy,  coy,  coil,  despoil,  foil,  joist,  joy,  loyal, 
moU,  noise,  ointment,  point,  quoit,  royalty,  sou,  toil,  voyage. 

2.  Ou  as  in  our — ou,  ow. 

Formed  by  a  slide  from  a  in  arm  to  u  in  hut.  In 
some  sections  of  the  country  this  tonic  is  vulgarly 
mispronounced  by  placing  a,  e,  before  it ;  as  in 
haouse,  keow,  for  house,  cow. 

Account,  allow,  bough,  boie,  cow,  doubt,  doughty,  enotc,  flour, 
goion,  house,  knout,  loud,  mound,  now,  owl,  proud,  proio,  round, 
rout,  shroud,  sound,  town,  wound  (did  wind). 

$  157.  The  snbtonics  are  formed  by  a  more  full  and  varied 
operation  of  the  articulating  organs  than  the  tonics. 

In  the  formation  of  this  class  of  sounds,  the  organs 
)f  articulation  are  more  active,  and  their  work  in 
lifferentiating  the  volume  of  sound  is  much  mcie 
effective,  than  in  the  tonics.  Hence  they  have  a 
lower  degree  of  vocality — being  formed  of  the  vocal- 
ized breath  more  or  less  checked,  or  stopped  off,  bj 
a  more  decided  action  of  the  organs. 


PRONUNCIATION.  263 

;  158.  The  subtonic  feeble  checks,  y,  w,  wh,  r,  1,  next  to  the 
tonics,  have  the  strongest  yocality. 

The  vocality  of  these  sounds  is  less  than  thit  of 
thw  tonics,  because  they  are  formed  by  a  near 
approach  to  contact  of  the  articulating  organs ;  it  is 
stronger  than  in  the  other  subtonics,  except  the 
anomalous  nasals,  for  the  reason  that  all  these 
sounds  except  1,  are  formed  without  actual  contact. 
Hence  they  are  all,  except  wh,  properly  semi-vowels, 
and  as  such  are  capable  of  performing  all  the  func- 
tions of  full  tonics,  in  the  formation  of  syllables 
(§  119;. 

1.   Y  as  in  yet — y,  i,  j,  u. 

This  subtonic  sound  connects  itself  immediately 
with  the  tonic  i  as  in  pin,  being  formed  with  the 
organs  in  the  same  position,  except  that  the  middle 
of  the  tongue  is  raised  a  little  nearer  the  roof  of  the 
mouth.  Hence  in  a  strict  arrangement,  the  i  as  in 
pin  would  have  been  the  last  of  the  tonics,  and  this 
would  have  come  immediately  after  it.  The  two 
are  so  nearly  related  that  the  letters  i,  y,  represent 
either  sound  indifferently. 

(1.)  It  is  represented  by  y  followed  in  the  same 
syllable  by  a  tonic,  that  is,  at  the  beginning  of  syl- 
lables and  words;  as  in  yellow,  youth,  beyond, 
steelyards.  In  all  other  circumstances  (except  in  the 
word,  hallelujah  ;  pronounced,  halleluyah),  y  repre- 
sents i  an  in  pine,  or  pin ;  as  in  by,  my,  folly,  merry. 
(2.)  It  is  frequently  represented  by  i  pre- 
ceded by  an  accented  syllable  ending  in  1,  n,  t,  and 
followed  by  a,  o ;  as  in  banian,  biliary,  bilious,  mil 


264  The  Elements  of  Power. 

lion,  pillion,  poniard,  scullion  ;  pronounced,  banyan, 
bilyaiy,  bhyus,  milyun,  pilyun,  ponyard,  sculyun. 

(3.)  It  is  represented  by  u  preceded  by  g,  and  fol- 
lowed by  a  tonic;  as  in  guard,  guardian,  guerdon, 
guess,  guest,  guide,  guile,  guise,  guilt ;  pronounced, 
gyard,  gy ardyan,  gyerdon,  gyess,  gyest,  gyide,  gyile, 
gyilt.  Exceptions  to  this  are  Guelf,  guiniad,  and 
their  derivatives ;  pronounced,  Gwelf,  gwiniad. 

(4.)  It  often  enters  as  a  transition  sound  after  g, 
k  (however  k  may  be  represented)  before  a  as  in 
ask,  hat,  and  before  i  as  in  pine,  pin,  and  before  e 
as  in  err ;  as  in  cat,  gat,  casket,  gasket,  girl,  gird, 
kind ;  pronounced,  cyat,  gyat,  cyasket,  gyerl,  gyerd, 
kyind.  The  correct  pronunciation  of  such  words 
brings  the  organs  into  the  position  in  which  y  is  form- 
ed, although  the  dictionaries  do  not  always  indicate 
it.  There  is,  however,  a  sectional  tendency  to  intro- 
duce this  transition  sound  before  a  as  in  arm,  and  vul- 
garly before  e  as  in  err  when  preceded  by  p  ;  as  in 
car,  garland,  perch,  pert ;  mispronounced,  cyar,  gyar- 
land,  pyerch,  pyert. 

(5.)  The  manner  in  which  this  consonantal  sound 
enters  into  u  as  in  use,  pronounced,  yoose,  deter- 
mines the  point  that  the  indefinite  article  before  it 
should  stand  without  the  euphonic  n.  We  should 
always  say,  a  useful,  not,  an  useful  thing.  This  lattei 
is  as  incorrect  as,  an  youth,  an  yellow  flower. 

(6.)  This  sound  is  often  improperly  suppressed,  as 
in  east  for  yeast ;  and  often  vulgarly  inserted  where 
it  does  not  belong,  as  in  yearth  for  earth,  yearn  fo* 
earn. 


PRONUNCIATION.  26c 

%   W  as  in  way — w,  u,  o. 

This  sound  connects  itself  with  u  in  rule,  in  a  man- 
ner similar  to  that  in  which  y  is  connected  with  i 
in  pin.  It  is  formed  by  the  organs  in  tht  same 
position  in  which  u  is  formed,  except  that  the  lips 
are  drawn  a  little  closer  together. 

(1.)  It  is  represented  by  w  in  precisely  the  same 
circumstances- in  which  the  preceding  sound  is  rep- 
resented by  y ;  that  is,  at  the  beginning  of  words 
and  syllables,  when  it  is  followed  immediately  by  a 
tonic ;  as  in  awake,  beware,  war,  well,  worth.  In 
all  other  cases,  either  it  forms  a  diphthong  with 
another  tonic,  as  in  cow ;  or  it  becomes  the  full 
tonic  u,  and  is  so  represented  in  modern  English 
orthography ;  or  it  is  suppressed,  L  e.  the  letter  is 
silent. 

(2.)  It  is  represented  by  u  preceded  by  q,  g, 
and  sometimes  by  s,  when  followed  by  a  tonic  in 
the  same  syllable ;  as  in  assuage,  conquest,  desue- 
tude, frequent,  mansuetude,  persuade,  quarrel,  quiet, 
suavity,  suite ;  pronounced,  asswage',  cong'kwest, 
desuetude,  fre  kwent,  man's  we  tude,  perswade',  kwar- 
rel,  kwiet,  swavity,  sweet.  It  is  also  represented  by 
w  in  buoy,  pronounced,  bwoy.  Exceptions  to  this 
rule  are  found  in  words  transf erred  from  the  French, 
as  in  coquette',  conquer,  liquor,  masquerade',  in 
which  the  u  is  silent. 

(3.)  It  is  represented  by  o  in  the  word  choir 
pronounced,  kwire;  also  o  is  vulgarly  prone  unced 
w  in  some  sections  of  the  country  in  such  words  as 
gwine  for  going. 


266  The  Elements  jf  Power. 

(I.)  As  a  transition  sound,  it  is,  in  most  cases, 
inserted  before  oi,  in  such  French  words  as  boudoir 
devoir,  reservoir,  soiree,  pronounced,  boudwor',  dev- 
wor',  reservwor',  sworay'.  It  is  always  so  inserted 
after  o,  u,  before  a,  e,  i,  in  different  syllables  of  the 
same  word ;  as  in  coadjutor,  fluent,  going,  pursuant, 
poem,  proem,  ruin,  pronounced,  cowadju'tor,  flu'went 
go'wing,  po'wem,  pro'wem,  pursu'want,  ru'win.  Foi 
in  all  such  cases,  the  articulating  organs,  in  passing 
from  o,  u,  to  a,  e,  i,  necessarily  come  into  the  position 
in  which  w  is  formed :  we  cannot  avoid  making  this 
sound,  except  by  a  pause,  or  interruption  of  the 
voice,  between  the  syllables  of  the  word,  which 
would  essentially  mar  its  unity  of  sound  (<§  148 — 4). 

(5.)  It  is  always  heard  before  o  in  one,  pronounced 
wun ;  and  hence,  as  in  the  case  of  y  in  u  as  in  use, 
the  indefinite  article  should  always  stand  before  this 
word  without  the  euphonic  n.  Such  an  one  is  as 
incorrect  as  such  an  wail,  or  such  an  wind. 

(6.)  W  is  always  silent  at  the  beginning  of  words 
and  syllables  before  r,  and  sometimes  before  h ;  as 
in  wrath,  writhe,  wrong,  who,  whom,  whose,  whole  ; 
pronounced,  rath,  rithe,  rong,  hoo,  hoom,  hoose, 
hole  ;  also  in  the  word,  answer. 

3.   Wh  as  in  when. 

This  sound  commences  with  an  expulsion  of  the 
whispering  breath,  the  lips  being  in  the  position  in 
which  w  is  formed;  the  breath  is  then  gradually 
vocalized.  The  atonic  h  can  hardly  be  said  to  form 
any  part  of  it.  The  difficulty  of  representing  it  by 
any  of  the  letters  of  the  English    alphabet,  has 


Pronunciation.  26? 

caused  it  to  be  differently  noted  at  different  times ; 
formerly  by  huw,  as  in  huwen  for  when,  afterwards 
by  hw,  as  in  hwen,  and  at  present  by  wh,  as  in 
when. 

(1.)  The  w  of  this  sign  is  silent  before  o}  oo,  and 
then  the  h  resumes  its  atonic  character ;  as  in 
whoop,  pronounced,  hoop  (§  158 — 2,  (6)),  except  in 
whorl,  whortleberry,  and  their  derivatives. 

(2.)  This  sound  is  often  confounded  with  w  in 
way ;  as  in  when,  which,  why,  mispronounced,  wen, 
wich,  wy.  This  is  a  very  damaging  fault,  as  it 
greatly  enfeebles  English  speaking.  In  the  follow- 
ing words,  and  all  their  derivatives,  the  sound  of  wh 
should  be  articulated  in  all  its  strength. 

Wli&ck,  whale,  wharf,  wh&t,  whe&t,  wheel,  toAeedle,  wheeze, 
whelk,  whelm,  whelp,  where,  wherry,  whet,  whether,  whey,  which, 
whi&,  whig,  while,  whim,  whip,  lo/iirl,  whisk,  loAisker,  whisper, 
whist,  to/dstle,  whitt  white,  loAither,  whittle,  whorl,  whortleberry. 
why. 

4.  B  as  in  ray. 

Formed  with  the  mouth  open,  nearly  as  in  a  in 
arm,  and  with  the  middle  of  the  tongue  raised  up 
towards  the  roof,  and  the  tip  of  the  tongue  turned 
tip  so  as  nearly  to  touch  it  at  the  highest  point  of 
the  arch.  Sometimes  in  the  formation  of  this  sound, 
there  is  a  broken  or  trembling  contact  between  the 
tip  of  the  tongue  and  the  roof  of  the  mouth,  which 
produces  what  is  called  the  "roll"  of  the  r«  A 
slight  degree  of  this  is  thought  by  many  gtiod 
speakers  to  impart  greater  force  to  the  words  in 
which  this  sound  occurs. 


2G8  The  Elements  oi  Poweb. 

(1.)  It  has  great  strength  of  vocality,  because 
like  y,  w,  it  is  formed  without  contact  of  the  organs 
and  unlike  wli,  its  vocahty  is  pure,  or  unmixed  with 
the  atonic  breath.  Hence,  in  Sanskrit,  it  is  regarded 
and  treated  as  a  vowel,  or  full  tonic.  In  English 
also  it  frequently  performs  all  the  functions  of  a  full 
tonic  in  the  formation  of  syllables ;  as  in  the  ter- 
minations, ere,  chre,  in  acre,  mas'sacre,  sep'ulchre,  in 
which  the  final  e  is  silent.  Thus  also  its  vocahty  is 
30  strong  in  such  monosyllables  as  flour,  hire,  lore, 
more,  roar,  soar,  that  careful  articulation  is  required 
to  prevent  them  from  miming  into  dissyllables,  so 
as  to  become  undistinguishable  respectively  from 
flower,  higher,  lower,  mower,  rower,  sower.  It  is, 
moreover,  in  consequence  of  this  strength  of  vocahty 
that  it  commonly  produces,  as  we  have  seen,  a 
marked  effect  upon  the  preceding  tonic  (§§  151 — 5  ; 
153—1;  154-2;  155—1). 

(2.)  It  is  sometimes  articulated  in  too  hard  a 
manner,  by  bringing  the  root  of  the  tongue  too  near 
the  roof  of  the  mouth,  and  holding  it  there  too 
firmly;  as  in  darrk,  marrk,  for  dark,  mark. 

(3.)  It  is  sometimes  vulgarly  added  to  a  at 
the  end  of  words,  as  in  idear,  Mariar,  sawr,  for  idea, 
Maria,  saw. 

(4.)  It  is  often  improperly  suppressed  ;  asinhoss 
or  ho'se,  for  horse,  and  in  cose  or  co'se,  for  coarse ; 
and  in  the  following  additional  examples. 

Absorb,  adorn,  car,  corn,  core,  door,  drawer,  endorse,  effort 
for,  forego,  force,  fourth,  guard,  hair,  jar,  learn,  mercy,  nerva 
observe,  pear,  quirk,  rare,  short,  tear,  vernal,  warm,  wcirui,  year  a 


Pronunciation.  260 

5.  L  as  in  lay, 

Formed  with  the  mouth  open,  about  in  the  posi- 
tion in  which  e  as  in  err  is  formed,  bj  placing  the 
tip  of  the  tongue  in  contact  with  the  front  roof  oi 
the  mouth,  yet  so  as  to  allow  the  sound  to  escape 
freely  on  both  sides  of  the  point  of  contact.  The 
fact  that  there  is  this  actual  contact,  might  seem  to 
be  a  good  reason  for  excluding  this  sound  from  the 
class  of  feeble  checks,  and  placing  it  with  the  soft 
or  hard.  But  it  is  retained  here  for  the  reason  that 
the  point  of  contact  is  so  slight,  and  allows  the 
vocality  to  escape  on  each  side  of  it  with  so  much 
fullness,  that,  in  this  respect,  it  is  hardly,  if  at  all, 
inferior  to  r,  with  which  it  stands  in  the  very  closest 
relations,  and  like  which  it  is  regarded  and  treated 
in  Sanskrit  as  a  vowel. 

(1.)  It  often  forms  a  perfect  syllable  by  itself,  or 
with  other  sub-tonic  or  atonic  sounds,  especially  in 
the  terminations  el,  il,  le,  in  which  e,  i,  are  silent; 
as  in  able,  addle,  bottle,  cattle,  cradle,  devil,  diddle, 
dingle,  drizzle,  evil,  fiddle,  griddle,  grizzle,  higgle, 
jumble,  kindle,  little,  middle,  muzzle,  pickle,  puzzle, 
riddle,  stickle,  wrinkle ;  pronounced,  abl,  bottl,  devl, 
evl,  etc. 

(2.)  It  is  often  suppressed  before  another  conson- 
ant in  the  same  syllable;  as  in  alms,  balm,  calf, 
calm,  calve,  chalk,  could,  half,  halve,  palm,  psalm, 
should  ,  would ;  pronounced,  ams,  sam,  etc. 


S  159.  The  sub-tonic  soft  checks,  z  in  azure,  z  in  zone,  th  i* 
then,  j,  v,  have  the  next  strongest  locality. 


270  The  Elements  of  Power 

In  forming  these  elements,  the  org  ans  require  tc 
be  held  firmly  in  snch  a  degree  of  contact  as  allows 
of  an  indefinite  prolongation  of  the  sonnds.  The 
breath  of  which  they  are  formed  is  very  partially 
vocalized,  which,  as  it  escapes  through  the  organs 
in  partial  contact,  gives  them  all  a  certain  buzzing 
character.  Their  vocality  is  less  than  that  of  the 
preceding  class,  because  they  are  formed  by  actual 
contact ;  and  it  is  greater  than  that  of  the  following 
hard  checks,  except  the  nasals,  because  the  contact 
is  soft  or  partial 

1.  Z  as  in  azure — zt  g,  s>  ss. 

Formed  of  the  partially  vocalized  breath,  by  plac- 
ing the  flat  surface  of  the  tongue  in  soft  contact 
with  the  roof  of  the  mouth,  with  the  teeth  brought 
almost  together.  The  sound  thus  produced  is  a 
sort  of  buzz,  precisely  identical  with  that  of  soft  g  in 
French,  and  that  of  s  in  measure. 

(1.)  It  is  seldom  represented  by  z,  except  when  z 
is  followed  by  u  as  in  use,  or  by  ie  in  unaccented 
syllables ;  as  in  azure,  razure,  seizure,  brazier,  gla- 
zier, grazier. 

(2.)  It  is  represented  by  g  in  many  words  trans- 
ferred from  the  French,  as  menage',  mena'gerie, 
giraffe',  regime',  rouge. 

(3.)  It  is  commonly  represented  by  s  after  an 
accented  tonic,  and  followed  by  ia,  ie,  io,  iu,  u ;  also, 
by  ss  in  the  words,  scission,  obscission,  recissioa 
The  following  aie  examples  under  this  rule. 

Ambrosia,  ambrosial,  Asia,  brasier  or  brazier,  Carte'sian,  clos- 
ure,  cohesion,  collision   composure,    oontusion,   osier,   crosier 


Pbonunciatjon.  271 

decision,  derision,  displeasure,  division,  ecclesia,  ecclesiastic, 
Elisian,  Elisium,  enclosure,  enthusiasm,  evasion,  exclusion,  expo 
sure,  Frisian,  grasier,  hosier,  illusion,  incision,  incisure,  leisure, 
lesion,  measure,  misprision,  persuasion,  pleasure,  preclusion, 
protrusion,  rasure,  rosier,  treasure,  vision,  usual 

2.  Z  as  in  zone — z,  x,  c,  s. 

Formed  of  the  partially  vocalized  breath,  by  plac- 
ing the  end  of  the  tongue  in  soft  contact  with  the 
upper  front  gums,  the  teeth  being  almost  closed. 
This  sound,  which  is  a  proper  buzz,  is  closely  cognate 
with  the  atonic  s,  with  which  therefore  it  is  fre- 
quently confounded. 

(1.)  It  is  always  represented  by  z,  x,  at  the  be- 
ginning of  words,  as  in  zodiac,  zumic,  Xenophon, 
xiphoid.  It  enters  also,  together  with  g  as  in  gay, 
into  the  sound  of  x  in  certain  other  circumstances 
(§  162 — 1,  (2)).  Both  these  sounds  of  x  are  heard  in 
Xerxes,  pronounced,  Zergzez. 

(2.)  It  is  represented  by  c  where  c  stands  for  s 
and  s  would  represent  this  sound;  as  in  discern, 
sice,  suffice,  sacrifice  ;  pronounced,  dizzern,  size,  suf- 
fize,  sacrifize. 

(3.)  The  cases  in  which  it  is  represented  by  s  are 
very  numerous  and  complicated,  so  that  they  cannot 
be  reduced  under  certain  rules.  The  following  are 
the  most  important. 

(a.)  In  some  derivatives  to  distinguish  them  from 
their  primitives  ;  as  in  use,  abuse,  close,  grease,  rise, 
(verbs)  usage,  greasy,  gaseous,  gooseberry ;  pro- 
nounced, uze,  abuze,  cloze,  greaze,  rize,  uzage, 
greazy,  gazeous,  goozeberry. 

(b.)  In  the  plural  of  nouns  and  third  person  sin- 


272  The  Elements  of  Power. 

gular  of  verbs,  when  preceded  by  a  tonic  or  sub 
tonic ;  as  in  arms,  bonds,  cause,  digs,  heads,  rings 
churches,  boxes,  prices,  charges,  teaches;  pro- 
nounced, armz,  bondz,  cauze,  digz,  headz,  ringz, 
churchez,  boxez,  pricez,  chargez,  teachez. 

(c.)  Preceded  by  the  inseparable  prepositions,  ob 
de,  pre,  re,  and  followed  by  a  tonic ;  also  in  usurp, 
and  in  all  its  derivatives;  likewise  in  absolve,  but 
not  in  all  its  derivatives. 

Desert,  deserve,  desiderate,  design,  desire,  desist,  observe,  pre- 
sent, preserve,  preside,  presume,  resemble,  resent,  reserve,  reside, 
resign,  resile,  resist,  resolve,  resort,  resound,  result,  resume,  re 
surrection. 

(d)  It  should  be  represented  by  s  in  the  insepa- 
rable preposition,  trans,  whenever  it  is  followed  by 
a  tonic.  A  strong  analogy  requires  this,  and  it  is 
thought  to  be  according  to  the  best  usage,  although 
the  authorities  in  orthoepy  do  not  warrant  the  rule 
in  a  universal  form.  Following  the  rule,  all  such 
words  as  transaction,  transit,  transition,  transitive, 
should  be  pronounced,  tranzaction,  tranzit,  tranzi- 
tion,  tranzitive. 

(e.)  It  is  represented  by  s  in  the  inseparable  pre- 
position, dis,  when  followed  by  an  accented  tonic  or 
subtonic,  except  sometimes  u,  w.  Under  the  ana. 
logy  of  this  rule  we  have  also  discern,  dissemble, 
dissolve ;  pronounced  dizzern,  etc.  In  the  following 
words,  therefore,  and  in  all  their  derivatives  in 
which  dis  is  followed  by  the  accent,  s  has  the  sound 
of  z  in  zone. 


Pronunciation.  273 

Disarm,  disaster,  disband,  disbark,  disbench,  disbind,  disbun 
deu,  disburse,  discern,  disdain,  disdeify,  disease,  dissemble,  dis- 
gage,  disgaiiand,  disgarnish,  disgorge,  disgrace,  disguise,  disgust, 
dishonor,  dishonest  (h  silent)  disintegrate,  disin'terest,  disjecta, 
disjection,  disjoin,  disjoint,  disjunct,  dislike,  dislimn,  dislodge,  dis« 
loyal,  dismantle,  dismast,  dismay,  dismember,  dismiss,  dis- 
mount, disnaturalize,  disorder,  disorganize,  disown,  disrelish,  dis* 
robe,  disrupt,  dissolve,  disvalve,  disvalue. 

3.  Th  as  in  then. 

Formed  of  the  partially  vocalized  breath,  by  plac- 
ing the  end  of  the  tongue  between  the  front,  in  soft 
contact  with  the  upper  teeth.  Neither  of  the  atonies, 
t,  h,  which  in  our  imperfect  symbolization  are  taken 
to  represent  this  sound,  forms  any  part  of  it.  For 
each  of  these  is  formed  by  an  entirely  different 
position  of  the  organs,  and  they  are  without  vocality, 
whilst  this  is  partially  a  vocal  sound. 

It  is  represented  by  th  in  verbs  ending  in  the,  and 
in  some  without  the  e ;  also,  in  the  plural  of  some 
nouns  the  singular  of  which  have  the  sound  of  th  in 
thin,  and  in  other  words.  It  is  heard  in  the  fol- 
lowing, and  in  all  their  derivatives. 

Bathe,  baths,  beneath,  bequeath,  Withe,  breathe,  burden,  clothe, 
clones,  hither,  iaxther,  further,  lathe,  laths,  lithe,  loathe,  mother, 
mouth  (verb)  mouths,  oaths,  other,  paths,  rather,  smooth,  smother, 
scythe,  soothe,  swathe,  swaths,  teethe,  than,  tha,t,  the,  thee,  their, 
them,  then,  thence,  there,  these,  they,  thine,  this  thither,  those,  thou, 
thus,  thy,  tithe,  underneatfi,  with,  wrea.the,  writhe. 

4.  V  as  in  vile — v ,/,  ph. 

Formed  of  the  breath  as  in  the  preceding,  bj 
placing  the  under  lips  in  soft  contact  with  the  uppei 
front  teeth.     This  sound  is  represented  by  f  in  one 


274  The  Elements  op  Power. 

word,  the  preposition,  of ;  pronounced,  uv ;  by  ph  in  i 
few  words,  such  as  nephew,  Stephen ;  pronounced 
uevu,  Steven;  and  by  v  wherever  it  occurs,  as  in  th€ 
following  examples. 

Avail,  brave,  cave,  dove,  eve,  five,  grave,  hive,  ivy,  Jove,  knaves 
due,  move,  novice,  oven,  pave,  quaver,  rave,  strive,  trav'erse,  valve, 
velvet,  vulviform,  wave. 

5.  Jaainjoy—jig. 

Formed  of  the  partially  vocalized  breath,  and 
with  the  organs  very  nearly  in  the  position  of  z  in 
azure,  except  that  the  tongue  is  brought  a  little  far- 
ther forward,  and  at  first  is  in  harder  contact  with 
the  roof  of  the  mouth,  which  contact  is  relaxed  in 
forming  the  sound.  The  two  sounds  consequently 
are  closely  cognate  with  each  other. 

(1.)  It  is  commonly  represented  by  g  before  e,  i, 
y,  in  words  derived  from  the  Latin,  and  in  some 
derived  from  the  French  in  which  g  does  not  repre- 
sent z  as  in  azure.  It  is  also  represented  by  g  pre- 
ceded by  d  in  the  same  syllable,  in  which  case  the 
d  is  silent;  as  in  budge,  fudge,  pronounced,  buj, 
fuj. 

(2.)  A  slight  sound  of  j  enters  in  transition 
after  d  at  the  end  of  an  accented  syllable  followed 
by  u  in  use,  as  in  the  words  credulous,  educate, 
individual,  pendulous  ;  pronounced,  credjulous,  edju- 
cate,  individjual,  pendjulous.  It  is  a  common  error 
to  render  this  transition  sound  with  too  great  full- 
ness and  strength  ;  also,  to  introduce  it  after  d  be- 
fore accented  syllables,  and  sometimes  even  to  turn 
d  into  j  in  such  cases  :  thus  dupe,  during,  obdu'rate, 
are  often  mispronounced,  jupe,  juring,  objurata 


Pronunciation.  275 

(3.)  It  is  represented  by  j  wherever  j  occurs. 

Agitate,  bourgeon,  cajole,  dudgeon,  enjoin,  fledge,  germ,  gyra- 
tion, hedge,  injunction,  just,  kedge,  ledge,  majesty,  nudge,  oblige, 
page,  rage,  sage,  trajection,  urge,  village,  wage. 


§  160.  The  sub-tonic  hard  checks,  m,  n,  ng,  nk,  g,  d,  b.  are 
all  formed  of  the  vocalized  bream,  with  the  mouth  organs 
in  a  state  of  perfect  closure. 

These  sounds  are  formed  of  the  vocalized  breath, 
with  the  mouth  organs  as  above,  so  that  the  outflow 
of  the  sound  through  the  mouth  is  perfectly  stopped 
off.  A  certain  resonance  of  the  voice  then  takes 
place  in  the  nasal  cavities,  which  gives  these  sounds 
their  peculiar  character.  The  proof  of  this  is  that 
no  sound  can  escape  from  the  mouth,  and  that  the 
vibrations  of  the  sound  in  the  nasal  cavities  is  quite 
sensible  upon  close  attention.  This  resonance,  how- 
ever, is  very  different  in  the  case  of  the  nasals  from 
what  it  is  in  the  subnasals  (§  111). 

§  161.  The  nasals  in,  n,  ng,  nk,  all  except  the  last,  have  a 
very  full  vocality,  and  are  capable  of  being  indefinitely 
prolonged. 

In  all  these  sounds,  except  nk,  there  is  a  perfectly 
free  escape  of  the  vocalized  breath  through  the  nos- 
trils. Hence  their  vocality  is  nearly  equal  to  that  of 
the  tonics  themselves,  and,  with  the  above  excep- 
tion, they  are  capable  of  performing  all  the  func- 
tions of  tonics  in  the  formation  of  syllables.  This 
capacity  is  much  more  fully  exhibited  in  some  other 
languages  than  it  is  in  English.     In  that  large  an<* 


276  The  Elements  op  Power. 

interesting  family  of  African  tongues,  called  fch« 
Kaffir  or  Nilotic,  which  are  spoken  by  almost  all 
the  African  tribes  south  of  the  Mountains  of  the 
Moon,  the  S3  nasals  form  syllables  by  themselves 
quite  as  frequently  as  the  tonics.  Thus  in  the 
Bakele  and  Mpong'we  dialects,  mpa'ka,  mpa'ga, 
gift — nto'thi,  nto'no,  breast — ngu'ba,  ngu'wa,  shield. 
This  is  the  case  also  in  some  of  the  islands  of 
the  Pacific.  In  English,  however,  ng  never  forms 
a  syllable  by  itself  ;  m  sometimes  does,  as  in  yes-m, 
the  colloquial  pronunciation  of  yes  ma'am ;  and  n 
very  frequently,  as  in  even,  heaven,  seven ;  pro- 
nounced, evn,  heavn,  sevn,  (§  153 — 2,  (2.))  The  nasals 
are  pnyperly  humming  sounds.  There  is,  however,  a 
false  or  impure  sound,  which  is  called  "  the  nasal 
tang,"  and  which  is  formed  by  closing  or  obstruct- 
ing the  nostrils  in  front,  so  that  a  peculiar  resonance 
takes  place  immediately  behind  the  obstruction ;  but 
this  abominable  impurity,  which  sometimes  affects 
all  the  sounds  of  speech,  is  no  legitimate  nasal. 
When,  moreover,  the  cavities  of  the  nostrils  are 
closed  or  obstructed  farther  back,  in  consequence  of 
which  the  resonance  of  the  sound  is  confined  to  these 
cavities  at  the  point  where  they  open  into  the  mouth, 
the  result  is  that  the  nasals  are  reduced  to  sub- 
nasals  ;  that  is,  m,  n,  ng,  are  perfectly  identified 
respectively  with  b,  d,  g.  A  person  with  such  an 
obstruction,  attempting  to  say,  Uncle  John  mado 
me  sing,  will  say,  Ugle  Jod  bade  be  sig.  Tliis  ex- 
hibits the  close  cognate  relation  between  the  nasals 
and  subnasals  respectively,  and  points  out  the  pre- 
y'se  difference  between  the  two  kinds  of  sound. 


Pronunciation.  277 

1.   M  as  in  may. 

Formed  by  closing  the  lips  in  hard  contact,  and 
allowing  the  whole  volume  of  sound  to  pass  through 
the  cavities  of  the  nostrils.  Hence  the  strong  vocal- 
ity  of  this  sound. 

It  is  represented  by  m  wherever  m  occurs,  except 
in  the  words,  compt,  accompt,  accomptanfc,  compta- 
ble,  comptroller,  comptrollership ;  pronounced,  count, 
account,  accountant,  countable,  controller,  control- 
lership. 

Arm,  cram,  doom,  emmet,  fame,  groom,  hum,  impart,  jam,  limit, 
M&mmjk',  namby-pamby,  ombre,  pump,  ram,  sum,  timber,  umbrella, 
vim,  wampum,  yam. 

%  N  as  in  nay. 

Formed  by  placing  the  flat  surface  of  the  tongue 
at  its  tip  in  hard  contact  with  the  roof  of  the  mouth 
near  the  upper  front  gums,  the  sound  passing  freely 
through  the  nostrils  as  before.  Its  vocality  is  of 
equal  strength  to  that  of  the  preceding. 

(1.)  It  forms  a  syllable  by  itself  much  more  fre- 
quently than  m,  as  in  most  dissyllables  ending  in 
en  without  the  accent ;  also  in  many  in  on — e,  o, 
being  silent  in  these  cases.  Examples  of  this  have 
been  given  before  (§§  153—2,  (2) ;  154—1).  In  the 
following  words,  however,  it  does  not  form  a  sylla- 
ble by  itself,  the  e  of  the  last  syllable  being  fully 
sounded;  aspen,  chicken,  flower,  Hymen,  hyphen, 
kitchen,  latten,  linen,  marten,  mitten,  mynchen, 
omen,  patten,  platen,  pollen,  siren,  sloven,  midden, 
ticken,  woolen,  women. 


278  The  Elements  of  Power. 

(2.)  N  is  silent  when  it  follows  1,  m,  in  the  same 
syllable ;  as  in  condemn,  contemn,  hymn,  hymning 
kiln,  limn,  mnemonics ;  but  not  in  condemning,  con- 
temning, nor  in  such  words  as  government. 

An,  cannot,  dun,  enunciate,  fan,  granny,  hunter,  in,  junto,  ken, 
lent,  man,  none,  on,  pin,  rennet,  stint,  tend,  under,  vine,  wine,  yon, 
went,  wend. 

3.    Ng  as  in  sing — ng,  ft. 

Formed  by  placing  the  back  part  of  the  tongue  in 
hard  contact  with  the  corresponding  part  of  the 
roof  of  the  mouth,  the  breath  as  in  the  preceding. 
The  sound  of  n  does  not  enter  into  it  at  all,  being 
formed  with  the  organs  in  a  different  position.  It 
is  represented  by  n  as  often  perhaps  as  by  its  own 
proper  sign  of  ng,  as  in  the  following  cases. 

(1.)  Where  ng  is  followed  in  the  same  word  by 
another  syllable  beginning  with  a  tonic,  the  n  has 
the  sound  of  ng,  and  the  g  retains  its  own  sound ; 
as  in  the  words,  England,  finger,  longer,  longest, 
stronger,  strongest;  pronounced,  Inggland,  fingger, 
longger,  strongger.  There  are  several  exceptions 
to  this  rule,  as  where  the  following  syllable  is  any 
of  the  verbal  endings,  est,  eth,  ing,  ed,  er  of  the 
rtoraen  agentis;  as  in  singest,  singeth,  singing,  singer, 
winged ;  in  all  which  ng  represents  its  proper  sound, 

(2.)  Where  n  is  followed  by  k,  or  c,  ch,  q,  repre 
senting  the  sound  of  k,  n  commonly  represents  the 
sound,  ng  ;  as  in  ankle,  anchor,  conquer,  uncle ;  pro- 
nounced, angkle,  angkur,  congker,  ungkle.  The  ex- 
ceptions to  this  rule  are  the  very  few  words  in  whicl 
nk,  nc,  represent  the  fourtl  nasal  as  given  below. 


Pronunciation.  279 

(3.)  Where  n  is  followed  by  x,  as  in  anxious 
larynx,  lynx,  sphinx ;  pronounced,  angshus,  laryngx* 
lyngx,  sphingx. 

Under  these  three  rules,  n  represents  the  sound  oJ 
ng  in  the  following  words,  and  in  all  their  deriva- 
tives. 

Anger,  angle,  anguish,  angular,  anxiety,  ba^k,  banquet,  blank, 
blanket,  brink,  bungle,  cancrine,  canker,  cinque,  clangor,  clank, 
concord,  conger,  congress,  crank,  crink,  dangle,  dank,  donkey, 
drink,  drunk,  elo?igation,  English,  flank,  frank,  function,  fungous, 
gangreue,  gingle,  hank,  hanker,  hunger,  ink,  jangle,  jungle,  junk, 
lank,  language,  languish,  languor,  linger,  link,  mangle,  mingle, 
mink,  minx,  monger,  mongrel,  monk,  monkey,  pink,  precinct, 
prink,  quincunx,  rancor,  rank,  rankle,  sanction,  sanctify,  sanctuary, 
sanguine,  shingle,  single,  singular,  sink,  sphincter,  sunk,  spank, 
sprinkle,  spunk,  tank,  thank,  think,  tinkle,  tingle,  unguent, 
unction,  unctuous,  vanquish,  wink,  wrinkle,  Yankee,  zink. 

4.  Nk  as  in  Uink — nk,  nc. 

Formed  by  placing  the  organs  in  the  same  posi- 
tion as  in  the  preceding,  and  then  stopping  off  the 
sound  with  the  atonic  k.  There  are  only  a  few 
words  in  the  language  in  which  this  sound  occurs, 
among  which  are  blink,  kink,  shrink,  cunctation 
cunctator. 


§  162.  The  sab-nasals,  g,  d,  b,  are  incapable  of  being  pro- 
longed. 

The  principal  difference  between  the  nasals  and 
subnasals,  with  respect  to  their  formation,  is  that  in 
the  former,  the  resonance  of  the  voice  takes  place 
throughout  the  whole  length  of  the  nasal  cavities, 
from  which,  except  in  the  case  of  nk,  it  escapes  in  a 


380  The  Elements  of  Power. 

Bound  capable  of  indefinite  prolongation  ;  whilst  k 
the  latter,  the  resonance  is  restrained  to  the  back 
cavities,  and  to  the  mouth  where  these  cavities  opeL 
into  it,  and  where  the  sound  is  soon  stopped  off. 
In  the  case  of  the  subnasals  also  there  is  a  peculiar 
pressure,  of  the  breath  upon  the  place  of  contact  oi 
the  organs.  The  nasals  and  subnasals  are  cognate 
with  each  other,  and  also  with  the  atonic  hard 
checks,  k,  t,  p,  as  hereafter  exhibited. 

1.   G  as  in  gay — g,  n,  x. 

Formed  by  placing  the  back  part  of  the  tongue 
against  the  corresponding  part  of  the  roof  of  the 
mouth,  and  pressing  the  vocalized  breath  against 
the  place  of  contact.  The  sound  thus  produced 
seems  to  be  stopped  off  by  the  closing  of  the  nasal 
cavities,  where  these  enter  the  mouth,  by  the  pres- 
sure of  the  soft  palate.  This  sound  is  cognate  with 
ng,  and  with  k ;  the  organs  in  all  three  cases  being 
very  nearly  in  the  same  position. 

(1.)  It  is  represented  by  g  before  a,  o,  u,  as  in 
gave,  gone,  gun ;  gaol,  pronounced,  jale,  is  the  only 
exception ;  also,  in  most  words  of  Anglo-Saxon  origin 
before  e,  i,  y,  as  in  get,  give,  boggy. 

(2.)  It  is  represented  in  x  in  the  inseparable  pre- 
position ex,  which  follows  the  analogy  of  dis  (§  15  9 
— 2,  (3),  (e));  that  is,  the  x  of  this  preposition  repre- 
sents the  sound  of  gz  (z  as  in  zone)  when  followed  by 
an  accented  tonic  ;  also,  in  some  derivatives  from  such 
words,  where  the  following  tonic  is  without  the  ac- 
cent; as  in  exaltation;  pronounced,  egzaltation 
Luxurious,  and  uxorious,prononnced  lugzurious  (z  as 


Pronunciation.  281 

in  azure),  ugzorious  (z  as  in  zone),  follow  the  analogy 
of  this  rule.  There  are  a  few  exceptions  to  it}  mostly 
in  words  transferred,  with  little  or  no  change,  from 
Greek  or  Latin;  such  as  exaeresis,  exangia,  ex- 
-inimo,  exan'thema,  exan'thesis,  exect',  exe'dra,  ex- 
e'sion ;  pronounced,  ekse'resis,  eksan'gia,  eksan'imo, 
etc.;  also,  a  few  words  in  which  u  is  the  accented 
tonic,  such  as  exude,  exudate  ;  pronounced,  eksude', 
eksu'date. 

(3.)  For  the  sound  of  g  represented  in  n,  see 
§  161—3. 

(4.)  G  is  silent  before  n  at  the  beginning  and  end 
of  words ;  also  before  ht,  and  commonly  before  h, 
at  the  end  of  words ;  as  in  feign,  fight,  gnaw,  high, 
nigh,  right,  sigh,  sign.  It  is  sometimes  improperly 
suppressed,  as  in  recognize,  mispronounced,  reco- 
nize. 

In  the  following  words,  and  in  all  their  derivatives 
in  which  x  is  followed  by  an  accented  tonic,  it  repre- 
sents the  sound  of  gz  (z  as  in  zone). 

Exa'cerbate,  exa'cinate,  exac'ulate,  exact',  exag'gerate,  exag'i- 
tate,  exalt',  exam'en,  exam'ine,  exam'ple,  exan'gulous,  exan'gu- 
ous,  exan'imate,  exan'imous,  exan'them,  exant'late,  exar'illate, 
exas'perate,  exauc'torate,  exau'gurate,  exau'thorate,  exau'thorize; 
exec'utive,  exec'utor'  exec'utory,  exec'utrix,  exem'plar,  exempt', 
exen'terate,  exergue',  exert',  exes'tuate,  exhaust',  exher'itation, 
exbib'it,  exhil'arate,  exhort',  exhume'  (h  silent)  exic'cate,  exig'u- 
ous,  exile'  (verb)  exist',  exi'tial,  exolve',  exon'erate,  exor'bitant, 
sxor'dial,  exor'dium,  exos'culate,  exot'ic,  exult',  exul' cerate,  eeun 
date. 

2.  D  as  in  day. 

Formed  by  placing  the  flat  surface  of  the  end  of 


282  The  Elements  of  Powee. 

the  tongue  in  hard  contact  with  the  front  roof  ol 
the  mouth,  and  pressing  the  vocalized  breath  against 
the  point  of  contact.  The  resonance  of  the  voice  in 
the  back  cavities  of  the  nostrils,  and  in  the  mouth 
where  these  open  into  it,  is  quite  sensible  while  it 
lasts,  but  is  soon  stopped  off.  This  sound  is  cog- 
Date  with  n,  on  the  one  hand,  and  with  t,  on  the 
other — the  organs  hardly  varying  in  position  at  all. 
It  is  represented  by  d  wherever  d  occurs,  except 
that  this  letter  is  silent  in  Wednesday,  and  wherever 
it  is  followed  by  g  in  the  same  syllable,  as  in  abridge; 
edge. 

Addition,  bid,  creed,  deed,  edit,  fed,  grade,  head,  idiom,  jade, 
kid,  hid,  lid,  mad,  nod,  ode,  paid,  quid,  ruddy,  staid,  toddle,  udder, 
videl'icet,  widow,  yield,  zed. 

3.  B  as  in  bay. 

Formed  by  placing  the  lips  in  hard  contact  with 
each  other,  and  pressing  the  vocalized  breath 
against  the  place  of  contact.  The  resonance  is  as 
in  d.     The  sound  is  cognate  "with  m  and  p. 

B  is  silent  before  t,  and  after  m,  in  the  same  syl- 
lable ;  as  in  debt,  doubt,  redoubt,  lamb,  limb,  comb, 
dumb  ;  pronounced,  det,  dout,  etc.;  except  in  the  word, 
succumb  and  its  derivatives.  It  is  silent  also  in 
some  other  words  which  do  not  strictly  fall  undei 
the  rule,  as  in  subtle,  pronounced,  suttle. 

Abbey,  cabbage,  dabble,  ebbing,  fable,  gable,  habit,  inhibit,  joA 
liberty,  mob,  nob,  oblige,  pebble,  quibble,  rabble,  sable,  utf ,  umbrage 
web. 


Pkonunciation.  283 

§  163.  The  atonies,  h,  th  in  thin,  sh,  s,  f,  k,  t,  p,  are  distin- 
guished from  their  cognate  sub-tonics  by  their  want  oi 
vocality,  and  by  a  different  action  of  the  breath. 

These  sounds  are  simply  articulations,  which 
check,  or  stop  off,  the  whispering  breath.  For  even 
where  they  are  preceded  by  a  full  tonic,  and  seem 
to  stop  off  its  vocality,  as  in  the  word,  hot,  it  will  be 
found,  upon  close  attention,  that  the  vocality  is  limit- 
ed to  the  tonic,  o,  and  does  not  affect  the  t.  They 
are  further  distinguished  from  their  cognate  sub- 
tonics,  by  a  slight  variation  of  the  position  of  the 
organs  in  some  cases,  and  in  all,  by  a  marked  differ- 
ence in  the  action  of  the  breath.  If  this  were  not  so, 
it  would  be  impossible  to  distinguish  cognates  oi 
the  two  classes,  when  speaking  in  a  whisper ;  but 
any  one  will  readily  notice  the  difference  between 
the  whispering  sound  of  b  and  p.  Upon  the  same 
principle  as  that  applied  to  the  subtonics,  the  aton- 
ies also  are  divided  into  the  three  corresponding 
subdivisions  of  hard,  soft  and  feeble  checks. 

§  164.  The  atonic  feeble  check  h  as  in  hay. 

This  is  the  only  feeble  check  of  this  class.  It  is 
formed  by  a  simple  emission  of  the  whispering 
breath,  through  the  open  mouth — the  shape  of  the 
opening  corresponding  to  that  of  the  tonic  by  which 
h  is  followed  in  the  syllable.  This  variation  in  the 
position  of  the  organs  in  forming  this  element,  might 
be  exhibited  throughout  the  whole  range  of  the 
tonics;  as  in  harsh,  high,  here,  hot,  huge,  hoist, 
house. 


284  The  Elements  of  Poweb. 

H  is  frequently  silent,  as  in  the  following  cases 

1.  Often  at  the  beginning  of  words,  as  in  the  fol- 
lowing, and  all  their  derivatives — heir,  herb,  honest, 
honor,  hostler,  hospital,  humble,  humor. 

2.  After  another  consonant  in  the  same  syllable, 
and  before  another  consonant,  or  alone,  at  the  end 
of  a  syllable ;  as  in  ghost,  aghast,  light,  bright,  ah ! 

3.  Before  th,  as  in  aphthong,  diphthong,  triph- 
thong, diphtheria,  naphtha,  ophthalmia,  pronounced 
apthong,  dipthong,  naptha,  opthalmia. 

4.  At  the  beginning  of  syllables  preceded  by  dis, 
ex,  when  pronounced,  diz,  egz ;  as  in  dishonest,  dis- 
honor, exhale,  exhalation,  exhibit,  exhort ;  pro- 
nounced, dizon'est,  dizon'or,  egzale,  egzort. 

What  is  called  the  cockney  dialect  in  England,  is 
characterized  chiefly  by  sounding  the  silent  h,  by 
suppressing  h  where  it  has  its  proper  sound,  and  by 
introducing  it  where  the  letter  does  not  occur ;  also, 
by  a  similar  perversion  of  the  euphonic  n  of  the 
indefinite  article.  It  is  a  very  ,  urious  phenomenon, 
and  well  worthy  of  minute  investigation. 

H  is  silent  in  the  following  additional  examples. 

Anthony,  burgh,  cirrhous,  delight,  Esther,  freight,  ghastly,  gher- 
kin, height,  isthmus,  John,  knight,  light,  myrrh,  night,  nigh,  pal- 
lah,  right,  sep'ulchre,  sirrah,  Thames,  Thomas,  thyme,  wright. 

§  165.  The  atonic  soft  checks,  th  as  in  thin,  sh,  s,  f,  are 
formed  of  the  whispering  breath  by  soft  contact  of  the 
organs. 

The  principal  difference  between  these  sounds 
and  their  corresponding  subtonic  soft  checks,  th  as 
in  then,  z  as  in  azure,  z  as  in  zone,  aiml  v,  is  in 


Pronunciation.  285 

their  want  of  vocality.  The  contact  and  position  oi 
the  organs  is  almost  the  same. 

1.  Th  as  in  thin. 

Cognate  of  the  subtonic  th  in  then,  and  formed 
by  the  organs  in  the  same  position,  except  that  the 
tongue  is  raised  a  little  higher  within  the  mouth, 
and  the  end  of  it  placed  a  little  further  between  the 
teeth.  The  sounds  represented  by  t,  h,  do  not 
enter  into  it.  No  certain  rule  can  be  given  to  de- 
termine when  th  represents  this  sound,  and  when 
th  as  in  then;  although  many  nouns  have  this  iu 
the  singular,  and  th  as  in  then,  in  the  plural ;  and 
some  verbs  have  the  latter,  to  distinguish  them 
from  the  nouns  with  the  former,  from  which  they 
are  derived.  Thus  the  first  two  of  the  following 
words  have  the  atonic,  and  the  last  two  the  subton- 
ic :  lath,  mouth,  laths,  to  mouth.  This  sound  is 
heard  in  the  following  examples. 

AMlet'ic,  batfi,  hirth,  hoth,  breato,  cathohc,  death,  doth,  epical 
eMnology,  forth,  fifth,  Goth,  hath,  heath,  int /trail,  jacinth,  kilh 
L\ih,  kthot'omy,  method,  mirth,  myth,  nothing,  ornitlioY ogy,  path, 
pa^ol'ogy,  rAinth,  quoth,  rath,  something,  third,  thorn,  thrash, 
thrush,  truths,  wrath,  youths. 

2.  Sh  as  in  shun — sh,  sc,  s,  ss,  c,  ch,  t,  x. 
Cognate  of  z  in  azure — organs  the  same-  -breath 

atonic.  Neither  s  nor  h  forms  any  part  of  this 
sound.  For  in  the  formation  of  h,  the  organs  are 
perfectly  open,  whilst  in  sh,  they  are  in  contact ;  and 
i  u  s,  the  contact  is  considerably  further  forwards  in 
I  lie  mouth  than  in  this  sound.  Its  symbolization 
is  peculiarly  complicated  and  difficult.  It  is  repre- 
sented as  follows. 


286  The  Ei^ements  of  Power. 

(1.)  By  sh  wherever  both  these  letters  occur  to 
gethei  in  the  same  syllable. 

(2.)  By  c,  sc,  preceded  by  an  accented  tonic,  anu 
followed  by  ea,  eo,  ia,  ie,  io,  as  in  ocean,  cetaceous 
facial,  nescient,  precious  ;  pronounced,  o'shan,  ceta'- 
shus,  fa'sheal,  nesh'eent,  presh'us. 

(3.)  By  ch  in  all  words  transferred  from  the 
French  with  little  or  no  change  of  spelling,  as  in 
chagrin,  chaise,  chateau;  pronounced,  shagreen'* 
shaze,  shato' ;  except  in  the  word  chivalry  and  its 
derivatives,  pronounced,  tshivalry ;  also,  by  ch  pre- 
ceded by  n,  t,  in  the  same  syllable,  as  in  batch,  catch, 
cranch,  ditch;  pronounced,  batsh,  catsh,  cransh, 
ditsh ;  and  it  enters,  together  with  t,  into  the  sound 
of  ch  in  all  other  circumstances,  except  where  ch 
represents  k  (§  160 — 1,  (3)),  as  in  child,  much,  such, 
pronounced,  tshild,  mutsh,  sutsh. 

(4.)  By  s,  ss,  preceded  by  an  accented  tonic  and 
followed  by  ea,  eo,  ia,  io,  iu,  u  (except  where  s  has 
the  sound  of  z  in  azure)  as  in  nauseate,  nauseous, 
cassia,  passion,  Cassius ;  pronounced,  nausheate, 
nausheus,  cashea,  pashun,  Casheus ;  and  in  a  few 
words  which  do  not  fall  under  this  rule,  as  in  sure, 
sugar,  sumach ;  pronounced,  shure,  shugar,  shumak 
Following  the  analogy  of  these  few  exceptions,  in- 
stead of  the  rule,  many  speakers  erroneously  give  to 
s  the  sound  of  sh  in  such  words  as  assume,  superb, 
superstitious,  etc.  mispronounced,  ashume,  shuperb, 
shuperstitious,  etc. 

(5.)  By  t  preceded  by  a  syllable  with  either  the  pri- 
mary or  secondary  accent  (except  when  such  sylla- 
ble ends  in  s)  and  followed  by  ia,  ie,  io,  as  in  expa- 


Pronunciation.  28? 

tiate,  sentient,  vitious,  pronounced,  expasheate, 
sensheent,  vishus. 

(6.)  Bj  x  preceded  by  n  at  the  end  of  an  accented 
syllable,  and  followed  by  io,  as  in  anxious,  pro- 
nounced angshus;  also  it  enters,  together  with  k, 
into  the  sound  of  x  at  the  end  of  such  a  syllable, 
and  followed  by  io,  u,  as  in  noxious,  fixure,  pro- 
nounced, nokshus,  fikshure. 

(7.)  It  enters  as  a  transition  sound  after  t  preced- 
ed by  the  accent  and  followed  by  u,  either  with  or 
without  silent  letters ;  also,  when  the  preceding  ac- 
cented syllable  ends  in  s,  and  t  is  followed  by  ia,  io  ; 
and  before  the  termination,  ure,  in  all  cases  in  which 
it  is  preceded  by  t ;  as  in  righteous,  christian,  bas- 
tion, fixture,  creature,  garniture,  legislature,  nature, 
nurture,  mixtion,  mixture,  virtue  ;  pronounced,  right- 
shus,  christshan,  bastshun,  fixtshure,  creatshure, 
gar'nitshure,  legislatshure,  natshure,  nurtshure, 
mikstshum,  mikstshure,  virtshue.  This  transition 
sound  in  all  such  cases  should  be  very  slight.  It  is 
a  common  error  to  render  it  with  too  great  fullness ; 
as,  also,  to  insert  it  after  t  in  other  connections  not 
covered  by  the  rule,  as  in  beauteous,  calamitous, 
covetous,  duteous,  opportunity,  perpetuity,  Tuesday, 
tune,  etc.  mispronounced,  beautsheous,  calamitshus, 
covetshus,  dutsheous,  opportshunity,  perpetshuity, 
Tsheusday,  tshune,  etc. 

It  is  also  a  common  error  to  give  sh  the  sound  of 
s  in  such  words  as  shrewd,  shrink,  shrine,  shroud, 
mispronounced,  srewd,  srink  srine,  sroud. 

Under  the  preceding  rules,  the  italicized  letters  in 
the  following  words  have  the  sound  of  sh. 


288  The  Elements  of  Power. 

Action,  branch,  c/iam'ois,  champagne',  champaign',  c/ievaliet 
chemise',  crucial,  diversion,  enunciation,  expulsion,  expatiation, 
faction,  fissure,  gracious,  Hessian,  issue,  jaculation,  kitchen,  Leti- 
tia,  luscious,  militia,  negotiate,  nescience,  osseous,  partial,  patient, 
prescience,  prescient,  pronunciation,  propitiation,  quassia,  rapa- 
cious, ratiocination,  satiate,  sensual  scissure,  social,  tenacious, 
tensure,  tissue,  tonsure,  voracious,  watcfc. 

3.  S  as  in  see — s,  c,  x. 

Cognate  with  z  in  zone,  the  organs  being  the 
same,  except  perhaps  that  in  this  sound  a  little  lese 
of  the  surface  of  the  tongue  is  brought  into  contact 
with  the  roof  of  the  mouth.  This  is  a  sharp  hiss 
ing  sound,  of  which  also  the  representation  is  com- 
plicated and  difficult. 

(1.)  It  is  represented  by  c  before  e,  i,  y,  as  in  cer- 
tain, acidity,  cycle,  pronounced,  sertin,  asidity,  sycle  ; 
except  in  a  few  words,  such  as  discern,  suffice,  sacri- 
fice, for  which  see  §  159—2,  (2). 

(2.)  It  enters,  together  with  k,  into  the  sound  of  x 
at  the  end  of  monosyllables,  and  in  the  derivatives 
from  such  monosyllables  ;  as  in  fix,  fixation,  lax,  lax- 
ative, laxation,  mix,  mixture,  wax,  waxwork,  etc. 
pronounced,  fiks,  fiksation,  etc.  also,  in  all  cases  in 
which  x  has  not  the  sound  sh  (§  165 — 2,  (6)),  or  of 
gz  (§  162—1,  (2)),  or  of  z  in  zone  (§  159—2,  (1)). 

(3.)  It  is  represented  by  s  in  the  following  cases, 
and  in  others  not  reducible  to  rule. 

(a.)  At  the  beginning  of  words,  as  in  safe,  see,  son ; 
except  in  a  few  words  in  which  s  represents  sh 
(§  165-2,  (4)). 

(b.)  At  the  end  of  words  terminating  in  as,  is,  us 
ss,  as  in  bis,  culb's,  gas,  fas,  genius,  Marcus,  dressf 
careless,   carelessness,   fairness;   except  the  plural 


Pronunciation.  28£ 

ol  words  ending  in  ea,  as  in  seas,  pease ;  pronounced, 
se.iz,  peaz  ;  and  except  the  words,  as,  has,  his,  was, 
together  with  all  their  derivatives,  such  as  whereas 
hisown ;  pronounced,  az,  haz,  hiz,  waz,  whereaz,  hiz 
own 

(c.)  In  some  nouns  ending  in  se,  to  distinguish 
them  from  the  verbs  or  adjectives  with  which  they 
are  etymologically  connected  (§  159 — 2,  (3),  (a))  as  in 
grease,  mouse,  rise,  use ;  pronounced,  greace,  mouce, 
rice,  uce. 

(d.)  S  represents  this  sound  whenever  it  is  pre- 
ceded or  followed  by  an  atonic,  as  in  acrostic,  ask,  bits, 
caps,  clasp,  dust,  fast,  locks,  muffs,  sister,  whisper. 

(e.)  In  the  inseparable  preposition  dis,  followed 
by  an  atonic  or  unaccented  tonic  or  subtonic,  as  in 
disavow, discuss, discredit,  discretion, disfavor,  dislo- 
cate, dishearten,  disperse,  displace,  dissuade,  dis- 
sever, disthrone ;  except  in  some  words  in  which  s 
has  the  sound  of  z  in  zone,  following  the  analogy  of 
§  159-2,  (3),  (e). 

(/.)  In  the  inseparable  preposition,  trans,  this 
sound  should  be  represented  by  s  whenever  it  is  fol- 
lowed by  a  subtonic  or  atonic,  as  in  transfix,  trans- 
mute, transplant,  but  the  authorities  do  not  warrant 
this  limitation— see   §  159—2,  (3),  (d). 

S  at  the  end  of  words  transferred  from  the 
French,  is  commonly  silent,  as  in  debris,  pronounced, 
debree' ;  also  in  some  other  cas  s,  as  in  isle,  island, 
pronounced,  ile,  iland.  It  is  sometimes  mispro- 
nounced by  being  unduly  prolonged,  and  sometime* 
by  giving  it  the  sound  of  sh. 


290  The  Elements  of  Power. 

According  to  the  above  rules  it  is  heard  in  the 
following  words. 

Ace,  brace,  cynic,  censure,  dice,  docility,  efface,  facility,  fracas, 
fuss,  grass,  haste,  hostage,  ice,  industry,  justice,  kiss,  lost,  laps, 
lots,  maps,  mast,  must,  nips,  obstacle,  postulate,  guest,  rats,  ser* 
vile,  sorrow,  subtle,  task,  taste,  use,  vice,  whist,  yesterday,  zest 

4.  F  as  infee—f,  gh,  ph. 

Cognate  of  v — lips  in  the  same  position.  This 
sound  is  represented  by  f,  ph,  wherever  these  signs 
occur,  except  in  a  few  words  in  which  ph  has  the 
sound  of  v  (§  159 — 4),  and  by  gh  at  the  end  of  some 
words,  and  in  their  derivatives. 

A/raid,  baffle,  cra/t,  cougrft,  chough,  draught,  enough,  fi/th,  graft, 
haft,  if,  \&ugh,  laughter,  mujf,  off,  phantasy,  Philip,  p/dlanthropy, 
p/ulosophy,  p/degmatic,  pArensy,  raffle,  rougf/i,  rougher,  soft,  Btajf, 
thereof,  tough,  tougher,  toughest,  trough  wa/t. 


§  166.  The  atonic  hard  checks,  k,  t,  p,  stop  off  the  whisper- 
ing breath  by  hard  contact  of  tire  organs. 

These  sounds  are  the  cognates  of  the  subnasals, 
g,  d,  b,  and  of  the  nasals,  ng,  n,  m ;  the  position  of 
the  organs  being  nearly  or  quite  identical.  These 
articulations  stop  off  perfectly  the  whispering  breath. 

1.  K  as  in  key — Jc,  c,  ch,  ch,  g,  gh. 

This  sound  is  the  cognate  both  of  g  and  ng ;  it  is 
distinguished  from  them  by  its  want  of  vocality 
and  further  from  ng  by  a  harder  contact.  The  dif- 
ference in  the  action  of  the  breath,  here,  and  in  the 
ollowing  cases,  is  also  to  be  observed. 

(U  This  sound  is  represented  by  k,  ck,  q,  wher- 


Pronunciation.  291 

ever  these  signs  occur,  as  in  beck,  like,  quill ;  pro- 
nounced, bek,  like,  kwill. 

(2.)  By  c  before  a,  o,  u,  1,  r,  and  at  the  end  of  syl- 
lables, as  in  car,  come,  cut,  climb,  cram,  public, 
lacteal,  pronounced  kar,  kome,  kut,  klimb,  kram, 
publik,  lakteal. 

(3.)  By  ch  before  1,  r,  as  in  chloroform,  christian, 
pronounced  kloroform,  kristshan ;  also,  in  words  de- 
rived from  Latin  and  Greek,  except  in  chalice,  char- 
ity, charter.  The  prefix,  arch,  is  governed  in  its  pro- 
nunciation by  the  character  of  the  word  to  which  it 
is  prefixed ;  i.  e.  ch  in  arch  has  the  sound  of  k  in  all 
words  derived  from  the  Greek,  except  in  archdeacon, 
pronounced,  artshdeacon,  and  in  a  few  other  cases ; 
whilst  in  all  purely  English  words,  it  has  the  sound 
of  tsh,  as  in   archbishop,  pronounced  artshbishop 

(4.)  By  gh  in  the  words,  hough,  lough,  shough,  and 
their  derivatives ;  pronounced,  hok,  lok,  shok,  etc. 

(5.)  K  enters  into  the  sound  of  x,  together  with  s, 
as  in  §  165—3,  (2). 

Archangel,  archipelago,  arcMepiscopal,  arcMdiaconal,  arc/iives, 
architect,  arc/ritype,  architrave,  bacfc,  bequeathe,  bequest,  chlorosis, 
crime,  dyfce,  eccentricity,  ficfcle,  lafce,  magna -charta,  mafce,  necfc, 
oak,  occiput,  pic/cle,  pofce,  quafce,  quicfc,  racfcet,  ricochet,  smofce. 
ticfcet,  vaccinate,  wafce,  wicfcet. 

2.  T  as  in  teU — t,  d,  ghtt  ch. 

Cognate  with  n  and  d — organs  in  the  same  posi- 
tion—a mere  articulation  stopping  of  the  atonic 
breath. 

(1.)  This  sound  is  represented  by  t  wherever  i 
occurs,  except  where  it  has  the  sound  of  sh  (§  165 


292  The  Elements  of  Po^er. 

— 2,  (5)),  and  where  it  forms  a  part  of  th  as  in  then  oi 
thin,  and  where  it  is  silent. 

(2.)  It  is  represented  by  its  subtonic  cognate  d  in 
all  words  ending  in  ed  in  which  e  is  silent  and  pre- 
ceded by  an  atonic  sound ;  as  in  asked,  basked, 
frothed,  placed,  scraped,  tossed,  whiffed,  whipped, 
pronounced,  askfc,  baskt,  plast,  scrapt,  tost,  whift, 
whipt. 

(3.)  By  ght  wherever  this  sign  occurs  in  the  end 
of  a  word,  as  in  bright,  light,  might,  plight,  sight, 
pronounced,  brite,  lite,  mite,  plite,  site. 

(4)  It  enters,  together  with  sh,  into  the  sound  of 
ch  in  all  words  of  pure  English  origin  ;  also  in  arch 
prefixed  to  such  words  (§  166 — 1,  (3));  as  in  archfiend, 
archrebel,  birch,  broach,  church,  larch,  lurch,  march, 
micher,  niche,  rich,  which,  etc.  pronounced,  artsh- 
6  end,  birtsh,  tshursh,  whitsh,  etc. 

(5.)  T  is  commonly  silent  when  preceded  by  f,  s, 
and  followed  by  en,  le,  as  in  the  following  examples 
and  all  their  derivatives. 

Apostle,  bristle,  bustle,  castle,  chasten,  christen,  epistle,  fasten 
glisten,  gristle,  hasten,  hustle,  jostle,  justle,  listen,  moisten,  nestle, 
often,  pestle,  rustle,  soften,  thistle,  throstle,  whistle,  wrestle. 

3.  P  as  in  pay—p,  gh. 

Cognate  with  m,  b— all  formed  with  the  lips 
closed.  It  is  seldom  represented  by  any  other  sign 
than  p.  In  the  word  hiccough,  pronounced,  hikkup, 
it  is  represented  by  gh.  It  is  sometimes  confound- 
ed with  its  subtonic  cognate  b,  as  in  baptize,  and  its 
derivatives,  mispronounced,  babtise.  P  is  silenf 
l;efore  s,  t,  at  the  beginning  of  words,  as  in  psalm 


Pronunciation.  293 

psalter,  Ptolemy,  also  in  receipt,  raspberry ;  pro- 
nounced, sain,  Salter,  Tolemy,  reseet,  razberry.  Ex- 
amples of  its  correct  sound  are  given  in  the  follow- 
ing words. 

Apple,  bepaint,  captain,  deep,  employ,  flap,  grapple,  hope, 
irruption,  jupe,  keep,  lip,  map,  nap,  open,  pale,  quip,  rip,  sap,  top, 
op,  wipe,  yelp 


CHAPTEB  YI 

The  Qualities  op  the  Voice. 

$  167.  Elocution  aims,  not  to  obliterate  the  personal  charae* 
teristics  of  voice,  but  to  correct  the  bad,  and  to  develop 
the  good  qualities. 

1.  Every  voice  lias  its  oivn  characteristic  quality. 
This  differential  character  of  every  voice  has  no 

reference  to  anything  which  makes  one  voice  better 
than  another.  It  is  a  quality  like  those  which  dis- 
tinguish the  sounds  of  different  musical  instruments 
from  each  other.  "When  e.  g.  the  same  note  is 
sounded  upon  the  flute,  violin,  and  piano-forte,  each 
of  the  three  sounds  has  its  characteristic  quality, 
though  all  of  them  may  be  equally  good.  In  the 
same  way,  each  person's  voice  has  its  characteristic 
quality,  or  general  character,  without  reference  to 
anything  which  makes  it  either  good  or  bad ; 
whence  it  is  as  easy  to  distinguish  different  persons 
by  their  voices,  as  it  is  by  their  features  or  counten- 
ances. 

2.  Elocution  does  not  aim  to  obliterate  these  differ- 
ences. 

It  is  no  part  of  the  aim  of  this  art  to  tone  down 
these  characteristics  to  a  common  sameness.     Fot 


The  Qualities  of  the  Voice.  29S 

Okoy  are  founded  in  nature,  as  truly  as  the  differ- 
ences of  countenance  and  expression  of  the  features  . 
and  in  vocal  music,  and  conversation  between  sev- 
eral persons,  they  give  a  fullness  and  variety,  which 
is  as  much  an  element  of  beauty  and  power,  as 
variety  of  instruments  in  an  orchestra.  In  oratory 
it  is  essential  to  the  greatest  power  that  the  speak- 
er's voice  should  be  distinctively  characteristic  of 
his  own  personality,  and  incapable  of  being  con- 
founded with  the  voice  of  any  other  person. 

3.  Elocution  aims  to  correct  the  body  and  to  develop 
the  good  qualities  of  voice. 

In  another  sense  of  the  word  quality,  it  denotes 
the  good  or  bad  traits  which  appear  in  the  same,  or 
in  different  voices;  such  as  purity  and  impurity, 
smoothness  and  roughness,  roundness  and  flatness. 
And  here,  Elocution  proposes  to  teach  the  methods 
of  training  and  exercise  by  which  the  bad  qualities 
may  be  exterminated  or  reduced,  and  the  good 
developod  and  perfected. 

§  168.  A  good  Toice  with  respect  to  quality,  is  fone  whose 
tones  are  pure,  full,  round,  solid,  smooth,  clear,  liquid, 
sweet,  musical. 

The  qualities  of  the  voice,  which,  it  will  be  ob- 
served, have  no  reference  either  to  pitch  or  force, 
are  too  numerous,  and  complicated  with  each  other, 
to  be  analyzed.  In  fact,  both  the  good  and  bad 
qualities  necessarily  overlap,  and,  to  a  certain  extent, 
imply  each  other.  Their  names  are  highly  meta- 
phorical ;   and  frequently  the  principal   differencef 


•J96  The  Elements  of  Power. 

between  thein,  is  that  they  are  various  aspects  oJ 
the  same  quality,  expressed  in  different  metaphors. 

1.  Purity  of  tone  is  tone  unmixed  with,  noise,  and  is 
the  ?nast  important  of  aU  the  good  qualities. 

There  are  properly  but  two  kinds  or  species  of 
sound  i.  e.  tones  and  noises.  Tones  are  produced  by 
regular,  periodical,  isochronous  vibrations  in  the 
sounding  body ;  they  are  such  sounds  as  we  hear 
trom  tuning  forks,  violin  strings,  and  organ  pipes. 
Noises  are  produced  by  irregular  impulses  or  con- 
cussions, such  as  the  slamming  of  a  door,  or  the  fall 
of  a  body  upon  the  earth.  Of  all  the  good  qualities 
purity  of  tone  in  the  human  voice  is  every  way  the 
most  important,  and  may  be  taken  as  inclusive  of 
t\  11  the  others. 

2.  It  is  produced  by  regular  and  unobstructed  vibra* 
tions  of  the  vocal  chords,  in  the  resonant  cavities. 

A  sound  thus  produced  is  unmixed  with  noise, 
smooth,  clear,  liquid,  sweet,  musical.  Fullness, 
roundness  and  solidity  of  voice  are  qualities  nearly 
allied  to  purity,  and  partly  included  in  it.  They 
cannot  be  better  described  than  they  are  by  these 
names.  They  are  all  exemplified  in  the  tones  of  3 
superior  church  organ,  which  seem  to  come  from 
each  separate  stop  and  pipe  in  a  full,  round  and 
solid  form.  Hence  we  speak  of  the  organ  tones  ol 
a  fine  voice. 


)  169.  The  physiological  causes  of  the  good  qualities  are  fro? 
vibration  of  the  vocal  chords,  healthy  condition  of  tht 


The  Qualities  of  the  Voice.  29r/ 

resonant  cavities,  and  facile  control  of  the  breathing  and 
articulating  organs. 

The  physiological  causes  or  csnditions  of  the 
good  qualities  of  the  voice,  are  exceedingly  numer- 
ous and  complicated ;  only  the  most  important  and 
obvious  are  here  enumerated. 

1.  T lie  free,  vibration  of  tJw  vocal  chords. 

That  those  chords  should  vibrate  freely  and  per- 
fectly, is  the  most  indispensable  condition,  inasmuch 
as  it  is  by  these  vibrations  that  the  breath  is  con- 
verted into  tone  (§103 — 2).  In  order  that  all  the 
breath  that  is  expelled  from  the  lungs,  should  thus 
be  converted  into  pure  tone,  and  none  of  it  be 
allowed  to  escape  in  an  unvocalized  or  whispering 
form,  it  is  indispensable  that  these  organs  should 
be  kept  in  a  healthy  condition,  well  moistened,  but 
uot  obstructed  or  clogged  by  unhealthy  or  excessive 
secretions. 

2.  Adequate  capacity  and  healthy  condition  of  the 
resonant  cavities. 

The  good  qualities  of  the  voice  depend  also 
upon  the  size,  function  and  healthy  condition  oi 
the  resonant  cavities  of  the  windpipe  and  mouth. 
It  is  necessary  that  these  should  be  of  adequate 
size  or  capacity,  and  that  they  should  present  a 
clean,  firm  and  elastic  resonant  surface.  They 
must  not  be  too  dry,  nor  yet  obstructed  by  secre- 
tions ;  and  the  throat  and  mouth  must  not  be  toe 
full  of  the  organs  which  they  contain,  viz.  pa' ate 
tonsils,   tongue,   gums    and  teeth.     The  brencuia) 


298  The  Elements  of  Poweb. 

tubes  and  trachea  must  be  large  enough  to  allow  a 
full-sized  column  of  air  to  pass  freely  through  them. 

3.  Facile  control  of  the  organs  of  speech. 
This  is  especially  important  with  respect  to  the 
diaphragm,  and  whole  breathing  apparatus,  in  order 
that  the  breath  may  be  expelled  regularly,  and  in 
such  quantities  that  it  can  all  be  converted  into 
pure  tone,  and  that  the  sound  thus  produced  may 
be  full,  round  and  solid.  Such  control  over  the  arti- 
culating organs  is  indispensable,  also,  in  order  that 
they  should  perform  their  functions  smoothly  and 
without  noise. 

§  170,  The  bad  qualities  of  the  voice  are  impurity,  rough- 
ness, hoarseness,  harshness,  wheezing,  flatness,  hollow- 
ness,  shrillness  and  the  nasal  tang. 

The  bad  qualities  of  the  voice  are  also  extremely 
numerous,  and  complicated  with  each  other.  Thev 
are  in  general  the  opposite  of  the  good  qualities, 
and  consequently  most  of  them  may  be  regarded 
as  included  in  impurity.  Roughness,  hoarseness, 
harshness,  wheezing,  and  the  nasal  tang,  are  obvious- 
ly different  forms  of  impurity.  Flatness  of  voice  is 
opposed  to  roundness  and  fullness ;  and  hollowness 
to  solidity.  Both  of  these  are  exemplified  in  the 
tones  of  a  poor  church  organ,  from  which  the 
sound  seems  to  come,  as  it  were,  flat,  hollow,  unsub- 
stantial. Shrillness  is  a  certain  sharpness  or  acute- 
uess  of  sound,  which  seems  to  pierce  the  ear  like  & 
sharp  instrument.  There  is  also  a  trembling  of  the 
voice,  which,  when  habitual,  should  be  classed  witt 


The  Qualities  of  the  Voice.  299 

the  bad  qualities.  As  in  the  case  of  the  good  quali- 
ties, many  of  these  names  are  little  more  than  vari- 
ous metaphors  presenting  different  aspects  of  im- 
purity. 

§171.  The  physiological  causes  of  the  bad  qualities  are  in 
general  the  opposite  of  those  upon  which  the  good  quali- 
ties depend. 

1.  Impurity  is  due  to  the  causes  by  which  noises  are 
mixed  iviih  tlie  tone  of  the  voice. 

These  causes  are  very  numerous.  When  the 
vocal  chords  do  not  vibrate  freely,  but  are  obstruct- 
ed by  excessive  or  unhealthy  secretions,  or  by  any 
other  cause,  or  when  the  uncontrolled  action  of  the 
diaphragm  and  breathing  muscles  forces  too  much 
breath  oyer  these  chords,  a  greater  or  less  portion  oi 
it  escapes  in  an  unvocalized,  or  whispering,  or 
wheezing  form.  When  the  chords  are  inflamed  and 
swollen  from  the  affection  of  colds,  or  sore  throat, 
hoarseness  is  the  result ;  and,  in  extreme  cases,  as 
we  have  seen,  aphonia,  or  voicelessness.  In  all  cases 
of  hoarseness  and  wheezing,  there  is  more  or  less 
of  unvocalized  breath  mingled  with  the  tone  of  the 
voice.  When  the  resonant  cavities  and  breathing 
tubes  are  obstructed,  the  voice  becomes  impure 
from  imperfect  resonance,  and  from  rattling  noises 
of  various  kinds  therein  produced ;  when  the  or- 
gans of  articulation  are  too  large,  or  under  imper- 
fect control,  so  that  they  perform  their  functions 
clumsily,  the  tone  of  the  voice  is  confused  and 
blurred  by  the  noise  which  they  make  at  their  work 


300  The  Elements  of  Power. 

When  control  over  these  organs  is  lost  from  theii 
being  overtaxed  or  strained,  the  noise  which  they 
make,  combined  with  other  impurities,  is  sometimes 
iike  that  of  the  bellows,  keys,  and  other  machinery 
of  a  very  poor  organ,  which  nearly  drowns  its  feeble 
tones.  In  shouting,  screaming,  and  passionate 
vociferation,  it  is  almost  impossible  to  prevent  a 
large  quantity  of  breath  from  escaping  in  an  unvo- 
calized  state,  and  the  organs  are  most  liable  then  to 
make  a  noise  at  their  work ;  so  that,  in  these  cases, 
the  voice  is  commonly  loaded  with  impurities. 

2.  Flatness  is  due  to  the  want  of  a  sufficiently  elastic 
resonance  in  the  vocal  cavities. 

This  want  of  a  sufficiently  elastic  resonance  itself 
arises  from  a  variety  of  causes,  such  as  excess, 
fatigue,  exhaustion,  whether  physical  or  mental 
The  want  of  elasticity  and  spring  in  the  physical 
organism,  or  mental  faculties,  in  consequence  of  ill 
health,  overtaxing  the  powers,  or  any  other  cause, 
seems  to  reflect  and  express  itself  in  a  flat,  or  dull, 
or  dead  sound  of  the  voice. 

3.  HoUovmess  is  due  to  the  feebleness  of  the  breathing 
organs ,  and  to  defects  in  ttie  resonant  cavities. 

In  such  cases,  the  breathing  apparatus  fails  to 
expel  a  sufficient  volume  of  air  to  be  vocalized  by 
the  chordal  vibrations  into  solid  sound.  Inade- 
2uate  size,  and  imperfect  construction  of  the  reson- 
ant cavities,  also,  impart  this  bad  quality  to  the 
40und  of  the  voice.  It  is  due,  further,  to  the  imper- 
fect action  and  co-operation  of  the  other  voca" 
organs. 


The  Qualities  of  the  Voice.  30] 

4.  Shrillness  is  caused  by  too  high  pitch. 

When  the  voice  is  exerted  on  too  high  a  pitch,  its 
capacity  in  this  respect  is  strained,  and  it  becomes 
shrill.  In  this  case,  the  resonance  is  thrown  almost 
wholly  into  the  arch  of  the  roof  of  the  mouth. 

5.  Tlie  trembling  quality  is  due  to  a  want  of  control 
over  tlve  breathing  organs. 

In  this  quality,  the  organs  fail  to  expel  the  breath 
in  that  steady  stream  which  gives  steadiness  to  the 
sound  of  the  voice.  The  quality  may  also  be  volun- 
tarily produced,  for  purposes  of  expression,  by 
alternately  checking  and  expelling  the  breath. 

6.  The  nasal  tang  is  produced  by  obstruction  of  the 
front  nasal  cavities. 

Any  cause  which  obstructs  in  front  the  free  pass- 
age of  the  breath  through  the  nostrils,  will  render 
the  voice  nasal  When  this  takes  place,  there  is  a 
peculiar  resonance  of  the  sound  apparently  about 
the  middle  of  these  cavities,  and  the  speaker  is 
said  to  "  talk  through  his  nose."  It  would  be  more 
correct,  however,  to  say,  he  talks  in  his  nose.  Very 
frequently  this  results  from  mere  carelessness  or 
slovenliness  in  speaking,  when  there  is  no  organic 
obstruction;  but  the  habit  once  formed,  is  very 
difficult  to  correct 

The  above  are  the  principal  good  and  bad  quali- 
ties of  the  voice,  together  with  the  most  important 
physiological  conditions  or  causes  upon  which  they 
depend.  The  knowledge  of  them  all  in  detail  is  not 
essential,  but  some  such  exhibition  of  them  as  has 


302  The  Elements  of  Power. 

now  t;een  made,  can  hardly  fail  to  aid  in  under- 
standing the  use  and  importance  of  the  good  quali- 
ties, as  an  element  of  power  in  delivery,  and  in  the 
training  and  practice  which  they  require. 


§  172.  The  good  qualities  of  the  yoice  are  the  most  easy, 
audible  and  agreeable,  aud  some  of  the  most  important 
elements  of  expression. 

It  is  chiefly  the  good  qualities  of  the  voice  with 
which  we  have  to  do,  as  an  element  of  power  in 
delivery.  Their  importance  for  this  purpose,  as  ex- 
hibited in  the  following  particulars,  can  hardly  be 
overestimated. 

1.  Titey  render  speaking  comparatively  easy  to  the 
speaker. 

One  reason  of  this  is  that  pure  tone  is  formed 
with  the  least  possible  expenditure  of  breath  and 
vital  force ;  all  the  breath  expended  is  utilized ; 
whilst,  on  the  other  hand,  impure  tone  commonly 
implies  the  escape  of  a  greater  or  less  proportion  of 
the  breath  in  an  unvocalized  form,  consequently  a 
waste  of  the  vital  forces.  It  is  truly  surprising  how 
little  breath  is  required  for  speaking  when  it  is  all 
utilized,  and  the  tones  consequently  are  perfectly 
pure.  This  may  be  shown  by  holding  a  candle 
close  to  the  mouth  while  speaking ;  when,  if  the 
tones  are  free  from  all  impurity,  the  breath  will 
hardly  stir  the  flame ;  but  if  they  are  impure  from 
unvocalized  breath,  the  flame  will  flicker,  as  from  a 
draught  of  air  through  a  broken  window.     One  car 


The  Qualities  of  the  Voice.  303 

:,  therefore,  in  pure  tones  with  comparatively 
little  effort  or  fatigue ;  whilst  impure  tones  are  very 
exhausting.  Hence  the  bad  qualities  tend  also  to 
generate  disease  in  the  vocal  organs. 

2.  They  render  hearing  easy  to  the  audience — they 
are  the  most  audible. 

One  reason  of  this  is  that  pure  tone  is  musical 
sound  ;  and  it  is  well  known  that  music,  under  any- 
thing like  favorable  circumstances,  can  be  heard  at 
a  vast  distance  ;  whilst  mere  noise,  though  of  much 
greater  force,  or  loudness,  will  travel  but  a  very  lit- 
tle way.  Hence,  in  the  degree  in  which  the  tones  of 
the  voice  are  rendered  impure  by  admixture  of  noise, 
is  its  audibility  impaired ;  whilst  the  good  qualities 
enable  the  speaker  to  make  himself  heard  much 
more  effectively,  and  by  a  much  larger  audience, 
than  were  otherwise  possible.  Even  in  the  open 
air,  a  pure,  full,  round  and  solid  voice,  though  of 
inferior  strength,  can  be  heard  by  an  amazing  num- 
ber of  persons. 

3.  Tliey  are  the  sounds  which  are  most  agreeable  to 
hear. 

A  voice  of  good  qualities  is  sweet  and  musical ; 
and  such  qualities  excite  only  pleasurable  sensa- 
tions in  the  audience.  Hence  they  engage  their 
attention  and  sympathy,  and  commend  the  senti- 
ments thus  delivered  to  their  favorable  cons,  iera- 
tion,  by  the  pleasure  experienced  in  listening  to  the 
sounds.  On  the  other  hand,  impure  tones,  and  the 
other  bad  qualities,  produce  only  disagreeable  sen- 
sations.    Eough,  harsh,  shrill,  or  nasal  sounds  irri- 


304  The  Elements  of  Power. 

tate  the  audience  ;  and,  by  placing  their  minds  b 
an  attitude  of  opposition,  predispose  them  to  reject 
all  that  is  said. 

4.  They  are  some  of  the  most  important  elements  of 
expression. 

The  good  qualities  of  the  voice  are  the  natural 
symbols,  and  oral  body,  or  expression  of  all  that  is 
true  and  beautiful  and  good  in  thought  and  feeling. 
They  are  required  for  the  expression  of  all  thoughts, 
whether  grave  or  gay,  elevated  or  common-place,— 
and  no  less  of  all  affections  and  emotions — that  are 
true  or  right,  pure  or  lovely,  serene,  gentle,  tender, 
affectionate,  faithful,  truthful,  hopeful,  earnest,  or 
in  any  way  praiseworthy  or  helpful  to  man.  In  fact, 
almost  everything  that  a  speaker  can  legitimately 
seek  to  communicate  to  others,  or  to  excite  in  them, 
requires  purity  of  tone,  and  the  other  good  qualities 
of  the  voice.  Nothing  of  this  nature  can  be  ade- 
quately expressed  in  any  other  qualities.  Pity  01 
love  e.  g.  expressed  in  impure,  rough,  harsh,  or  hiss- 
ing sounds,  is  not  expressed  at  all ;  elevated  or  sub- 
lime sentiments,  expressed  in  a  thin,  hollow,  cracked, 
or  wheezy  voice,  are  simply  caricatured,  and  re- 
duced from  the  sublime  to  the  ridiculous ;  senti- 
ments of  self-sacrifice  or  devotion,  expressed  in  a 
nasal  tang,  suggest  insincerity  and  hypocrisy.  It 
is  impossible  to  conceive  of  our  Saviour  as  speak- 
ing with  any  other  than  the  good  qualities  of  voice 


The  Qualities  of  the  Voice.  305 

^  173.  The  bad  qualities  of  the  voice  are  an  element  of  power 
in  expressing  the  bad  passions. 

For  the  elocution  of  the  stage,  and  perhaps  foi 
some  other  purposes,  it  may  be  desirable  to  have 
under  control  the  bad  qualities  of  the  voice.  Foi 
they  are  the  natural  symbols,  and  oral  body,  for 
the  expression  of  all  the  vile  and  hateful  states  oi 
mind.  Impure  tone  is  the  natural  and  appropriate 
expression  of  anger,  wrath,  malice,  envy,  jealousy — 
of  all  evil  passions  and  inordinate  affections.  For 
the  effective  rendering  of  such  evil  passions  upon 
the  stage,  and  sometimes  in  forensic  and  delibera- 
tive oratory,  it  may  be  well  to  have  at  command  the 
different  varieties  of  impure  tone ;  but  the  art  of 
Elocution,  as  here  taught,  can  have  little  to  do  with 
the  training  of  the  voice  for  such  expression. 

&  174.  The  training  required  for  the  development  of  the  good 
qualities  of  the  voice,  consists  in  exercising  it  daily  in 
these  qualities. 

The  particular  rules  for  these  exercises,  having 
for  their  object  the  correction  of  the  bad,  and  the 
development  of  the  good  qualities  of  the  voice,  are 
few  and  simple,  but  of  great  efficacy  where  they  are 
faithfully  applied. 

1.   The  services  of  a  good  teaclwr  should  be  secured. 

This  rule  applies  to  all  the  exercises  which  elocu- 
tion prescribes.  Wherever  it  is  possible,  the  stu* 
dent  should  have  the  advice  and  direction  of  a  good 
teacher,  especially  for  the  purpose  of  pointing  oul 


300  The  Elements  of  Power. 

faults  and  defects,  and  to  exemplify  all  the  good 
and  bad  qualities  of  voice.  For  we  become  so  ac- 
customed to  our  own  peculiarities,  whether  of  voice, 
or  in  other  respects,  that  we  are,  for  the  most  part, 
insensible  of  them  ourselves,  however  prominent 
and  striking  they  may  be  to  others ;  and  it  is  ex- 
tremely difficult  for  us  to  become  conscious  of  them, 
until  they  are  pointed  out  and  exemplified  to  us  by 
some  other  person.  Where  a  teacher  cannot  be 
had,  a  judicious  friend  should  be  consulted  for  this 
purpose. 

2.  The  ear  must  be  cultivated  to  distinguish  the 
qualities. 

If  the  ear  of  the  student  be  naturally  dull,  it  is 
indispensable  that  it  should  be  trained  up  by  tho 
exercises  already  prescribed  for  it  (§  105 — 4)  until  it 
Decomes  capable  of  distinguishing  the  different 
qualities  of  voice  from  each  other  with  facility  and 
precision. 

3.  The  exercises  required  are  nearly  the  same  as 
those  prescribed  for  articulation  and  tJie  ear  ;  the  atten- 
tion being  specially  directed  to  the  quality  of  the  vocal 
sound  (§§  105—4  ;  114). 

Under  the  guidance  of  the  ear,  the  student  should 
exercise  his  voice  in  forming,  with  purity  of  tone, 
and  all  the  good  qualities,  the  various  sounds  which 
constitute  speech,  both  separately,  and  in  their  vai  i. 
>us  combinations.  The  practice  should  be  first 
ipon  the  vowel  sounds  taken  separately ;  next  upon 
ihese  sounds  in  combination  each  with  a  single 
consonant ;  then  upon   single  words ;  and  finallj 


The  Qualities  of  the  Voice.  307 

upon  connected  oral  discourse.  In  practicing  upon 
the  vowels,  the  student  should  hold  or  prolong  them 
to  the  utmost  capacity  of  his  breath,  with  all  the 
good  qualities,  but  especially  aiming  to  prevent  any 
portion  of  the  breath  from  escaping  in  an  unvocal- 
ized  form,  and  to  utter  the  voice  without  allowing  it 
to  become  tremulous.  In  practicing  upon  words  and 
sentences,  he  should  aim  to  work  the  organs  of 
speech  with  neatness  and  facility,  so  that  they  may 
perform  their  functions  without  noise.  By  such  ex- 
ercises, the  bad  qualities  of  the  voice  are  gradually 
corrected,  and  the  good  are  developed. 

4.  Great  care  is  necessary  not  to  strain  the  voice. 

The  liability  to  this,  in  these  and  in  all  other  elo- 
cutionary exercises,  is  very  great ;  and  the  inevita- 
ble result  is  that  the  voice  is  rendered  impure, 
rough  and  harsh.  It  is  believed  that  a  voice  once 
spoiled  in  this  way,  can  never  be  restored  to  purity 
and  sweetness.  Hence  in  all  exercises  it  must  be 
kept  down  or  subdued;  in  other  words,  the  vocal 
organs  must  never  be  exerted  to  their  utmost  ca- 
pacity. 

5.  These  exercises  should  be  performed  once  or  twict 
a  day ',  for  a  Italf  or  a  quarter  of  an  hour  at  a  time. 

A  single  exercise  each  day  for  a  half  hour,  wiU 
produce  excellent  effects  in  a  short  time ;  but  for 
the  best  possible  results,  the  exercise  should  be 
twice  a  day,  for  a  quarter  of  an  hour. 


CHAPTEB  YIL 

THE  POWERS  OF  THE  VOICE. 

1 175.  The  powers  of  the  yoice  are  strength,  compass  and 
flexibility. 

These  powers  are  capable  of  being  sharply  distin- 
guished from  the  qualities  of  the  voice.  For  as  the 
qualities  refer  to  the  character  of  the  sound,  regard- 
ed chiefly  as  pure  or  impure  tone,  so  the  powers  of 
the  voice  refer  to  its  degrees  of  strength  and  pitch, 
and  to  its  capacity  of  changing  from  one  quality, 
and  one  degree  of  force  or  pitch,  to  another.  Con- 
sequently there  are  but  three  such  powers,  strength, 
compass  and  flexibility. 

§  176.  Strength  of  yoice  is  the  power  to  utter  loud  vocal 
sounds. 

A  strong  voice  is  one  that  is  capable  of  producing 
with  ease  loud  sounds,  in  distinction  from  a  weak 
or  feeble  voice,  which  is  capable  only  of  weak  01 
feeble  sounds.  Strength  of  voice  has  no  reference 
to  quality,  nor  pitch,  nor  compass,  but  solely  to 
loudness.     Thus  e.  g.  if  the  same  key  of  a  piano  b« 


The  Powers  of  the  Voice.  309 

touched  first  softly,  then  more  forcibly,  it  produces 
two  sounds  of  the  same  pitch  and  quality,  but  differ- 
ing in  their  degree  of  loudness.  In  this  way,  the 
same  vocal  organism  gives  forth  strong  or  feeble 
sounds ;  and  in  this  power,  different  organisms  are 
superior  or  inferior  to  each  other. 


§177.  Strength  of  voice  depends  chiefly  upon  the  strength  of 
the  organs  of  respiration,  and  upon  the  size  and  capacity 
of  the  resonant  cavities. 


1.  Strength  in  the  breathing  organs  is  essential  to  ex- 
pel the  breath  with  adequate  force. 

We  have  seen  that  the  sound  of  the  voice  is  gen- 
erated by  the  vibrations  of  the  vocal  chords ;  and 
that,  whilst  pitch  depends  upon  the  number  of  these 
vibrations,  force  or  loudness  depends  upon  their 
amplitude,  in  other  words,  upon  the  width  of  the 
space  through  which  the  chords  are  made  to  vibrate 
(§  103—2,  3,  4).  Now  this  amplitude  of  the  vibra- 
tions, is  due  to  the  degree  of  force  with  which  the 
column  of  breath  is  driven  against  the  chords,  by 
the  contraction  of  the  diaphragm,  and  other  muscles 
which  co-operate  with  it  in  respiration.  Conse- 
quently the  stronger  the  breathing  muscles,  other 
things  being  equal,  the  greater  the  strength  of  voice. 

2.  Adequate  size  and  capacity  of  the  resonant  cavities 
contribute  to  the,  strength  of  the.  voice. 

The  reason  of  this  is  that  vibrations  of  the  same 
amplitude,  will  not  produce  the  same  degree  of  loud- 
noss  in  resonant  cavities  of  different  sizes  and  capa- 


310  The  Elements  of  Power. 

cities.  The  same  concussion  e.  g.  in  a  bejl  of  larg€ 
size,  and  of  superior  capacities  in  other  respects, 
gives  forth  a  much  louder  sound  than  it  does  in  a 
small  bell  of  inferior  qualities.  In  like  manner,  the 
same  force  of  breath,  which  causes  the  vocal  chords 
to  vibrate  with  the  same  amplitude,  produces  a 
much  louder  sound  in  resonant  vocal  cavities  of 
ample  size,  and  otherwise  well  constructed,  than  it 
does  in  cavities  of  small  size,  or  otherwise  of  small 
capacity.  Defects,  therefore,  in  the  breathing  tubes, 
or  in  the  larynx,  pharynx,  or  mouth,  whether  from 
organic  malformation,  disease,  or  want  of  develop- 
ment, always  tend  to  render  the  voice  feeble. 


$  178.  Strength  of  voice,  as  an  element  of  power  in  delivery, 
enables  the  speaker  to  speak  with  ease,  with  the  good 
qualities  and  natural  tones,  and  it  is  the  natural  symbol 
of  power. 

1.  Strength  of  voice  enables  the  speaker  to  speak  with 
tasey  and  without  injury  to  his  organs,  and  to  be  heard 
without  effort  or  weariness. 

It  is  sufficiently  obvious  that  a  speaker  with  a 
strong  voice,  can  make  himself  heard  with  ease,  in 
large  assemblies,  and  in  the  open  air,  where  one 
with  a  feeble  voice  cannot  be  heard  except  with 
difficulty,  or  not  at  all.  For  the  same  reason,  one 
can  speak  for  a  much  greater  length  of  time  than 
the  other,  without  exhaustion  or  fatigue.  For  a 
speaker  with  a  feeble  voice  soon  becomes  exhaust- 
ed, and  all  his  powers  of  elocution  enfeebled.  His 
vocal  organs,  also,  from  this  cause,  are  liable  to  suf- 


The  Powers  or  the  Yoice.  311 

fer  irreparable  injury,  and  liis  general  health  to 
break  down.  This  is  a  principal  cause  of  the  ill 
health  of  so  many  clergymen.  Moreover,  when  the 
audience  hear  with  difficulty,  they  soon  become 
wearied  and  discontented;  their  appreciation  of 
what  they  hear  is  unfavorably  affected,  and  they 
cease  to  give  their  attention.  But  where  the  voice 
is  of  adequate  strength,  all  these  and  other  causes 
of  feebleness  are  obviated,  and  give  place  to  the 
opposite  elements  of  power. 

2.  It  is  favorable  to  the  good  qualities  of  the  voice. 
Purity  of  tone  requires,  as  we  have  seen   (§  174 

— 4),  that  the  voice  should  not  be  overstrained, 
nor  taxed  to  its  utmost  capacity.  But  a  speaker 
with  a  feeble  voice  can  hardly  refrain  from  exerting 
it  to  the  utmost,  in  order  to  make  himself  heard, 
especially  in  large  assemblies ;  and  thus  it  soon  be- 
comes loaded  with  impurities.  Hence  a  speaker 
with  a  strong  voice  can  much  more  easily  and  effect- 
ually guard  its  purity  of  tone. 

3.  Also,  to  natural  tones,  and  to  variety  of  tone,  in 
speaking. 

One  of  the  most  fruitful  causes  of  feebleness  in 
delivery,  is  a  certain  unnaturalness  in  the  tones  oi 
the  voice,  which  is  as  far  removed  as  possible  from 
the  tones  which  prevail  in  conversation,  or  common 
talking.  This  is  due,  in  great  part,  to  the  straining 
and  effort  of  the  speaker  to  make  himsc  If  heard  and 
understood.  When  e.  g.  the  voice  is  feeble,  it  tends 
to  rise  in  public  speaking  above  its  natural  pitch, 
especially  in  all  animated  and  impassioned  di 


312  The  Elements  of  Power. 

course,  in  order  to  compensate  by  shrillness  foi 
what  it  lacks  in  strength.  Also  it  tends  to  run 
along  on  this  high  pitch,  with  little  variation.  In 
like  manner,  when  it  is  overstrained  in  order  tc 
make  every  word  audible,  it  is  incapable  of  varying 
the  degree  of  force,  for  the  expression  of  more  or 
less  impassioned  sentiments.  It  can  neither  rise 
nor  fall  in  pitch,  nor  vary  in  force  or  quality,  ac- 
cording to  the  ever  varying  character  of  the  senti- 
ments to  be  expressed.  Hence  monotony,  and  un- 
natural, impure,  and  otherwise  disagreeable  sounds. 
On  the  other  hand,  if  the  voice  be  of  adequate 
strength,  the  speaker  can  deliver  himself,  even  in 
the  largest  assemblies,  in  his  natural,  and  almost  in 
conversational  tones,  which  are  the  point  of  depart- 
ure for  all  good  speaking.  From  this  point,  he  natu- 
rally rises  and  falls  in  pitch  as  the  sentiment  re- 
quires, with  varying  force  and  quality  of  voice,  ac- 
cording to  the  degree  of  animation  or  passion,  and 
to  the  greater  or  less  importance  of  what  he  has  to 
deliver.  Strength  of  voice  is  thus  essential  to  natu- 
ralness, and  to  that  variety  of  force,  pitch  and  qual- 
ity of  the  vocal  sounds,  which  are  among  the  great- 
est charms  and  excellences  of  delivery. 

4.  Strength  of  voice  is  the  natural  symbol  and  ex- 
pression of  power. 

From  this  consideration,  more  than  all  others, 
we  are  enabled  to  appreciate  the  vast  importance  oi 
tliis  element  of  power  in  delivery.  For  of  all  the 
natural  symbols  of  power,  strength  of  voice  is  the 
most  striking  and  expressive.     The  African  hunters 


The  Powers  of  the  Voice.  313 

tell  us  that  the  roar  of  the  lion  in  his  native  wilds, 
produces  the  most  awful  impressions  that  are  con- 
ceivable, of  the  vastness  of  his  force ;  and  this  im- 
pression is  not  more  than  adequate,  for  the  lion 
has  the  strength  of  forty  men.  The  voice  of  the 
cataract,  and  of  the  storm-tossed  ocean,  produces  a 
similar  impression  of  immeasurable  force.  The 
thunder  itself,  the  most  sublime  of  all  sounds,  is  the 
voice  of  the  Almighty,  i.  e.  it  is  the  symbol  and  ex- 
pression of  infinite  power.  Accordingly,  a  speaker 
with  a  powerful  voice  comes  before  an  audience, 
clothed,  as  it  were,  with  power.  Thereby  he  is  en- 
abled to  command  their  attention,  and  to  impress  his 
sentiments  upon  them,  more  powerfully  than  were 
otherwise  possible.  Hence  the  great  orators  and 
tragedians  have  almost  always  had  great  voices. 
The  power  of  Cicero  and  Demosthenes  in  this  re- 
spect, need  not  be  again  alluded  to.  But  it  is  said 
that  Garrick  could  speak  with  ease  to  ten  thousand 
persons.  The  vast  powers  of  Spurgeon's  voice  are 
certainly  one  of  the  greatest  elements  of  his  power 
in  delivery.  And  it  was  estimated  by  Dr.  Franklin, 
whilst  listening  to  Whitefield  preaching  in  the  open 
air  at  the  State  House  in  Philadelphia,  that  he  could 
be  heard  on  that  occasion  by  thirty  thousand  per- 
sons. In  fact,  the  marvelous  effects  of  Whitefield' s 
oratory  were  due,  in  great  part,  to  his  almost  incredi- 
ble powers  of  voice — intellectually,  he  seems  to  have 
been  a  man  of  only  moderate  abilities. 


314  The  Elements  oi  Power. 

1 179,  The  exercises  for  cultivating  strength  of  voice,  are  th< 
same  with  those  prescribed  for  the  development  of  th? 
breathing  organs,  and  of  the  resonant  cavities. 

By  the  proper  exercises,  the  human  voice  is  capa- 
ble of  wonderful  and  rapid  development,  to  almost 
any  degree  of  strength.  It  is  rare  to  find  a  voice 
whose  power  would  not  be  more  than  doubled  by 
two  or  three  months  of  such  exercises.  But  it  is 
indispensable  to  the  best  results  that  they  should 
be  practiced  daily  and  systematically ;  otherwise  a 
great  part  of  what  is  gained  one  day,  or  one  week, 
is  lost  the  next  (§§  100—4;  101—3;  102—3;  104 
-4). 

1.  In  the  exercises  for  strengthening  the  breathing  or- 
gans, the  sound  should  be  gradually  increased  in  force. 

These  exercises  are  those  which  have  been  already 
prescribed  for  the  diaphragm  (§  100 — 4),  and  lungs 
(§  101 — 3).  In  this  case,  however,  it  is  especially 
necessary  to  hold  or  prolong  the  sounds  to  the  full 
capacity  of  the  breath,  and  gradually  to  increase 
them  in  force  or  loudness  from  day  to  day,  yet  with- 
out straining  the  voice  so  as  to  render  it  impure. 
These  exercises  should  be  accompanied  also  with 
what  is  called  the  explosion  of  the  voice,  which  con  • 
sists  in  uttering  the  sound  as  shortly  and  abruptly 
as  possible,  and  with  as  great  force  as  the  organs 
will  bear  without  straining.  The  danger  of  injuring 
them  in  this  way  is  very  great,  so  that  not  more 
thai  four  or  five  such  explosions  should  be  allowed 
sach  day,  until  they  have  become   accustomed  tc 


The  Powers  of  the  Voice.  315 

the  exercise.  To  these  should  be  added  reading 
aloud  and  declamation  and  the  improvement  wiD 
be  much  more  rapid  and  satisfactory  if  these  exer- 
cises are  performed  in  the  open  air,  which  greatlj 
promotes  the  health  and  vigor  of  the  vocal  organs. 
Thus  the  muscular  organs  of  respiration  are  in- 
creased in  size  and  force ;  and  strength  of  voice  is 
developed,  on  precisely  the  same  principle  upon 
which  the  arm  of  the  blacksmith  acquires  its  great 
size  and  force  by  wielding  the  hammer,  and  upon 
which  the  muscular  organism  of  the  body  is  devel- 
oped by  gymnastic  exercises.  Every  one  knows  how 
rapidly  this  takes  place  in  the  latter  case,  and  the 
improvement  in  the  voice  is  not  less  but  rather  more 
rapid. 

2.  In  the  exercises  for  tlie  development  of  the  resonant 
cavities,  the  immediate  aim  should  be  to  enlarge  their 
capacity. 

These  exercises  are  in  part  the  same  with  those 
prescribed  for  the  mouth  organs  (§  104 — 4),  and  for 
the  good  qualities  of  the  voice  (§  174 — 3).  The 
result  here  aimed  at  takes  place  by  the  effort  to  ren- 
der the  sounds,  but  especially  the  lower  and  lowest 
sounds  in  pitch  of  which  the  voice  is  capable,  with 
constantly  increasing  force,  purity  and  solidity.  By 
every  such  effort,  as  any  one  may  observe  for  him- 
self, nature  instinctively  strives  to  throw  the  interior 
organs  of  the  mouth,  throat  and  windpipe  into  such 
a  position  as  to  render  the  cavities  as  large  and 
capacious  as  possible.  In  this  way,  therefore,  theil 
size   and    capacity   of    resonance  is  gradually  in- 


316  The  Elements  of  Potver. 

creased,  and  strength  of  voice  is  correspondingly 
developed. 

§  180.  The  compass  of  the  yoice  is  its  range  of  pitch. 

A  good  compass  of  the  voice  consists  in  its  capa- 
city of  sounding,  with  purity  and  force,  both  the  high 
and  low  notes  of  the  musical  scale.  The  voice  is  oi 
small  compass  when  on  the  high  notes  it  breaks, 
or  runs  into  falsetto,  becoming  shrill  or  screaming, 
and  when  it  is  incapable  of  sounding  the  low  notes 
with  fullness,  force,  roundness,  or  solidity. 

§  181.  A  much  greater  compass  of  yoice  is  required  for  sing- 
ing than  for  speaking. 

The  highest  excellence  in  singing  demands  a 
compass  of  at  least  three  octaves,  whilst  in  speak- 
ing, the  range  is  seldom  greater  than  one.  Some- 
times, however,  especially  in  the  most  impassioned 
oratory,  a  more  extensive  range  can  be  employed 
with  good  effect. 


\  182.  The  compass  of  the  yoice  depends  upon  the  action  of 
the  yocal  chords,  and  upon  the  capacity  of  the  resonant 
cavities. 

When  the  vocal  chords  are  so  finely  organized 
that  a  small  number  of  vibrations  will  render  a  per- 
fect sound,  and  this  sound  has  a  good  resonance  in 
the  trachea  and  bronchia]  tubes,  then  the  voice  has 
a  good  command  of  the  low  notes,  or  chest-tonea 


The  Powers  of  the  Voice.  31? 

WheiA  the  chords  are  capable  of  a  great  number  of 
vibrations  in  a  given  time,  and  tne  upper  cavities  ol 
the  mouth  give  a  good  resonance,  then  it  has  a 
good  command  of  the  high  notes,  or  head-tones. 
Where  either  of  these  conditions  is  wanting,  the 
voice  is  wanting  in  range,  either  upwards  or  down- 
wards. 

§  183.  Adequate  compass  of  voice  is  an  important  element  of 
power  in  delivery. 

A  great  range  of  the  voice  upwards  is  not  of  so 
much  importance  in  speaking,  as  an  ample  com- 
mand of  the  lower  and  lowest  tones — these,  beyond 
all  comparison,  are  the  most  effective  in  oratory.  A 
voice  full,  rich  and  mellow  on  the  low  notes,  is  a 
mighty  element  of  power  in  delivery.  A  voice  of 
good  compass,  however,  in  both  directions  is  re- 
quired, in  order  to  that  variety  of  pitch  and  inflec- 
tion, which  is  essential  to  the  adequate  expression 
of  the  ever-varying  movements  of  thought  and  feel- 
ing ;  otherwise  a  dull  and  stupefying  monotony  can 
hardly  be  avoided.  It  is  indispensable  in  all  ani- 
mated and  impassioned  speaking.  For  deep  and 
strong  emotion  cannot  be  fully  expressed  on  the 
middle  or  common  pitch  of  the  voice,  but  it  re- 
quires both  the  high  and  the  low  sounds,  often  in 
rapid  alternation.  In  impassioned  questioning  e.  g. 
the  voice  must  rise  or  fall  by  inflection  through  a 
whole  octave.  Hence,  as  an  element  of  power  in 
delivery,  adequate  compass  of  voice  is  only  inferio* 
to  adequate  strength. 


318  The  Elements  of  Poweb. 

$  184.  The  exercises  for  developing  the  compass  of  the  voice, 
consist  in  sounding  the  high  and  low  notes  of  the  musicaj 
scale. 

These  exercises  are  very  much  the  same  with 
those  prescribed  for  the  ear  (§  105 — &).  Almost 
every  voice,  however,  has  a  range  of  pitch,  adequate 
for  speaking,  in  one  direction  or  tne  other,  either 
upwards  or  downwards.  The  student  should  aim, 
therefore,  to  develop  his  voice  in  the  direction  in 
which  it  most  needs  it.  The  exercises  for  extend- 
ing the  range  in  either  direction,  consist  in  sound- 
ing the  notes  of  the  musical  scale,  running  up  as 
high  as  the  voice  will  rise  without  breaking,  or  tak- 
ing the  falsetto  character,  and  down  as  low  as  it  can 
be  made  to  descend.  It  is  not  necessary  that  its 
lowest  notes  should  be.perfectly  pure,  or  very  strong, 
at  first ;  it  may  be  practiced  at  first  on  notes  so  low 
as  to  be  both  feeble  and  impure ;  but  it  should  be 
the  aim  of  the  student  to  bring  out  these  low  sounds 
with  ever  greater  purity  and  force.  This  practice 
should  be  accompanied  with  daily  reading  aloud, 
and  declamation,  on  a  low  or  high  pitch,  according 
to  the  direction  in  which  the  voice  may  require  de- 
velopment. 


§  185.  Flexibility  of  voice  is  its  power  of  changing  its  pitch, 
quality,  or  force ;  and  it  depends  chiefly  upon  facility  of 
control  over  the  organs. 

This  power  consists  in  the  faculty  of  changing 
from  one  pitch,  or  one  quality,  or  one  degree  of  force. 


The  Powers  of  the  Yoice.  319 

to  another.  When  these  changes  can  be  effected 
with  facility  and  rapidity,  the  voice  is  one  of  great 
flexibility;  when  they  cannot  be  effected  without 
difficulty,  or  otherwise  than  slowly,  it  has  little  flexi- 
bility. This  power  depends  upon  a  neat  and  smooth 
and  proportionate  construction  of  the  vocal  organs  j 
but  more  especially,  upon  a  perfect  voluntary  control 
over  them,  by  which  only  can  they  be  made  to 
assume  those  rapid  and  facile  changes  of  position 
and  action,  which  are  the  immediate  causes  of  these 
variations  of  sound. 


$  186.  Flexibility  of  yoice  is  an  essential  element  of  power  in 
delivery. 

This  power  of  voice  is  a  fundamental  element  of 
all  animated  and  forcible  delivery ;  the  changes  of 
sound  which  depend  upon  it,  are  the  very  life  and 
spirit  of  expression.  It  is  required,  moreover,  in  the 
utterance  of  every  word  and  syllable,  which  do  not 
maintain  the  same  pitch,  or  degree  of  force,  through- 
out. In  further  illustration  of  its  importance,  it  may 
be  sufficient  to  refer  to  those  numerous  occasions  on 
which  almost  every  speaker  is  painfully  conscious 
that  his  voice  is  not  under  his  control  in  this  respect ; 
that  it  does  not  answer  to  the  changes  which  the  ex- 
pression of  the  changing  sentiment  requires;  in 
other  words,  he  does  not  express  what  he  really 
means  and  feels.  The  cause  of  this  is  that  the  voiea 
is  wanting  in  flexibility. 


320  The  Elements  of  Power. 


§  187.  The  exercises  for  the  development  of  this  power,  con« 
sist  in  rapid  and  extreme  transitions  from  one  degree  of 
pitch  and  force,  and  from  one  quality,  to  another. 

The  exercises  prescribed  for  obtaining  the  most 
perfect  control  of  the  vocal  organs,  are  the  best  for 
the  attainment  of  flexibility.  The  references  to 
these  need  not  be  again  repeated.  In  addition,  the 
student  should  practice  his  voice  in  the  most  rapid 
transitions  from  one  degree  of  force  and  pitch,  and 
from  one  quality  of  sound,  to  another.  He  should 
select  for  declamation  the  most  animated  and  impas- 
sioned passages,  because  they  require  the  greatest 
variety  of  pitch,  force  and  quality  of  sound.  But 
probably  the  best  exercise  is  that  of  reading  aloud 
or  speaking  dialogues,  in  which  the  reader  repre 
sents  alternately  a  number  of  interlocutors.  The 
animation  which  is  characteristic  of  this  species 
of  discourse,  and  the  frequent  and  rapid  changes  oi 
the  voice  which  are  requisite  to  maintain  the  dis- 
tinction of  persons  and  characters,  afford  the  most 
effective  aids  to  the  development  of  this  power. 
Humorous  selections  also  are  good  for  this  pur- 
pose. 


CHAPTER  Yin. 

PITCH  AND   INFLECTION. 

§  188.  Pitch  is  the  character  of  sounds  as  high  or  low,  grave 
or  acute. 

The  pitch  of  a  sound  is  something  entirely  differ- 
ent both  from  its  force  and  its  quality,  being  de- 
termined, as  we  have  seen,  by  the  number  of  vibra- 
tions which  take  place  in  a  given  length  of  time,  in 
the  sounding  body  (§  103 — 4).  The  keys  of  a  piano- 
forte exemplify,  in  the  simplest  manner,  the  distinc- 
tions of  pitch.  On  the  extreme  left  of  the  key-board, 
we  have  the  lowest  bass  note,  the  most  grave  sound ; 
as  the  hand  moves  to  the  right,  each  succeeding  note 
rises  in  pitch  above  the  preceding,  until  we  reach 
the  extreme  right,  which  gives  ns  the  highest,  or 
most  acute  sound.  The  variations  in  pitch  of  which 
the  human  voice  is  capable,  in  the  exercise  of  com- 
pass and  flexibility,  are  very  great.  The  extent, 
rapidity  and  accuracy,  in  varying  the  pitch,  which  is 
attained  by  great  vocalists,  especially  when  we  con- 
sider that  the  vocal  chords,  upon  which  these 
changes  depend,  cannot  vary  in  length  more  f  han 
one  eighth  of  an  inch,  is  one  of  the  wonders  of  oui 


322  The  Elements  of  Power. 

physiological  constitution,  and  a  striking  example  oi 
the  control  which  mind  01  life  is  capable  of  exercis- 
ing over  matter. 

5  189.  Inflection  is  a  function  of  pitch. 

In  the  books  on  Elocution,  inflection  is  commonly 
treated  under  a  distinct  head  from  that  of  pitch. 
But  it  is  properly  a  function  of  pitch,  that  is,  it  is 
one  way  of  varying  the  pitch  of  sounds.  For  there 
are  two  distinct  forms  of  such  variation,  which  are 
characterized  as  discrete  and  concrete,  each  of  which 
has  important  functions  in  the  expression  of  thought 
and  sentiment. 

1.  Discrete  variations  are  ships  from  one  degree  of 
pitch  to  another. 

These  variations  may  be  exemplified  by  sound- 
ing in  succession  any  two  or  more  of  the  keys  of  an 
instrument.  This  will  give  sounds  of  different  pitch, 
with  intervals  of  silence  between  them — one  sound 
does  not  slide  into  another.  Hence  such  variations 
are  called  skips,  in  distinction  from  slides. 

2.  Concrete  variations  are  slides  from  one  pitch  to 
another. 

These  may  be  exemplified  by  moving  the  stop-fin- 
ger up  or  down  one  of  the  strings  of  a  violin,  whilst 
the  bow  is  drawn  across  it.  A  continuous  or  sliding 
sound,  from  one  degree  of  pitch  to  another,  will 
thus  be  produced.  Such  Tariations,  called  slides,  ir 
distinction  from  skips,  are  properly  inflections. 


Pitch  and  Inflection.  323 

fe  190.  In  music  the  discrete  variations  predominate,  in  speech 
the  concrete. 

Both  of  these  variations  are  heard  in  music  and 
in  speech,  but  the  predominant  form  in  each  is 
different. 

1.  In  music  the  discrete  changes  predominate. 

This  is  evident  from  the  structure  of  the  musical 
staff,  which  is  composed  of  alternate  lines  and 
spaces,  on  which  the  notes,  one  above  another,  repre- 
sent sounds  of  different  pitch,  with  intervals  of 
silence  between  them.  The  notation  of  the  slide  in 
music,  though  it  frequently  occurs,  is  comparatively 
rare.  That  these  discrete  changes  predominate  in 
music,  is  further  evinced  by  the  fact  that  music  can 
be  produced  from  keyed  instruments,  which  are 
totally  incapable  of  executing  the  slide.  Yet  the 
judicious  introduction  of  the  concrete  changes  of 
pitch  in  music,  is  one  of  the  most  important  elements 
of  its  expressive  power,  for  the  reason  that  they  im- 
part a  certain  speaking  character  to  the  sounds. 
Hence  also  the  acknowledged  superiority  of  stringed 
instruments,  from  their  capacity  of  executing  these 
speaking  slides. 

2.  In  speech  the  concrete  variations  predominate. 
This  is  evident  to  the  ear.    For  if  we  give  close 

attention  to  conversation,  especially  to  the  free  and 
animated  conversation  of  ladies,  we  easily  perceive 
that  their  voices  are  continually  sliding  up  and  down 
the  musical  scale,  with  amazing  rapidity  and  flexi- 
bility ;  in  fact,  as  we  have  seen,  every  syllable  ter- 


324  The  Elements  of  Power. 

minutes  in  a  slide  (§  118).  Hence,  when  we  speak 
of  discrete  variations  in  speech,  we  do  not  mean 
that  there  is  no  slide  at  all  in  these  sounds  ;  for  they 
all  end  in  a  sliding  vocule,  or  vanish  ;  but  only  that 
the  slide  does  not  reach  from  one  sound  to  the 
other,  and  that  the  interval  is  reckoned  from  one 
radical  pitch  to  the  other.  This  predominance  of 
the  sliding  sounds,  or  concrete  changes  of  pitch,  is, 
in  fact,  the  differential  character  of  speech  as  distin- 
guished from  song.  Hence  very  much  of  that 
vicious  speaking  wThich  is  called  sing-song,  will  be 
found  to  arise  from  the  introduction  of  the  discrete, 
in  place  of  the  concrete  variations. 

§  191.  Both  melody  and  expression  depend  upon  the  varia- 
tions of  pitch. 

This  is  equally  true  in  music  and  in  speech.  In 
the  case  of  the  latter,  it  is  evident  from  the  consider- 
ation that,  apart  from  these  variations,  speech  would 
consist  of  a  succession  of  articulate  sounds  on  the 
same  line  of  pitch,  in  which  certainly  there  could  be 
neither  melody  nor  expressioa  of  sentiment.  Such, 
however,  is  the  nature  of  the  vocal  organism,  that  it 
is  perhaps  impossible  to  pronounce  the  shortest  sen- 
tence in  a  perfect  monotone.  But  it  is  easy  and 
common  enough  to  have  so  little  variation  in  speak- 
ing as  to  render  it  powerless.  Any  one  can  make 
this  plain  to  himself  by  pronouncing  the  following 
lines  with  as  little  variation  of  pitch  as  possible. 

The  evil  that  men  do  lives  after  them  ; 
The  gooo1  is  oft  interred  with  their  bones. 


Pitch  and  Inflection.  325 

But  when  they  are  rendered  with  the  proper  vari- 
ations, both  their  melody  and  expression  are  at  once 
brought  out. 

$  192.  Melody  in  speech  consists  in  such  discrete  variations 
of  pitch  in  succession  as  are  pleasing  to  the  ear. 

If  the  following  extract  be  properly  read,  it  will 
readily  be  perceived  that  the  several  clauses  and 
phrases  range  on  various  degrees  of  radical  pitch, 
and  that  such  variations  are  essential  to  its  pleasing 
melody. 

It  is  an  impression  which  we  cannot  rid  ourselves  of  if  we  would, 
when  sitting  by  the  body  of  a  friend,  that  he  has  still  a  conscious- 
ness of  our  presence ;  that,  though  the  common  concerns  of  the 
world  have  no  more  to  do  with  him,  he  has  still  a  love  and  care 
for  us.  The  face  which  we  had  so  long  been  familiar  with,  when 
it  was  all  life  and  motion,  seems  only  in  a  state  of  rest.  We  know 
not  how  to  make  it  real  to  ourselves,  that  the  body  before  us  is 
not  a  living  thing. 

Now,  in  order  to  attain  this  melody,  the  student 
will  do  well  to  avoid  all  attempts  to  apply  those 
multiplied  and  minute  rules  which  the  elocutionists 
have  given  us,  however  accurate  those  rules  may  be  ; 
for  it  is  more  than  probable  that,  by  such  attempts, 
he  will  lose  more  than  it  is  possible  to  gain.  The 
almost  inevitable  result  will  be  sing-song,  instead  of 
melodious  speech.  He  will  best  succeed  in  cultivat- 
ing this  grace  of  prose  speech,  by  applying  his  ear. 
from  time  to  time,  to  his  sentences,  that  the  ear  may 
judge  for  itself,  so  to  speak,  whether  it  is  satisfied 
or  pleased  with  the  successive  variations  of  pitch 


326  The  Elements  of  Poweb. 

"When  his  own  ear  is  thus  satisfied,  the  speakei 
may  hope  that  the  melody  of  his  sentences  will  be 
such  as  to  please  the  ears  of  his  audience. 


§  193.  Violations  of  melody  consist  in  monotony,  sing-song, 
false  changes  in  the  body  of  the  sentence,  false  cadence, 
and  too  great  variations. 

According  to  the  principle  just  laid  down,  it 
would  be  useless,  and  perhaps  worse,  to  attempt  to 
specify  all  the  violations  of  melody,  which  are  con- 
stantly occurring,  even  in  the  delivery  of  good  speak- 
ers. Yet  it  may  be  useful  to  characterize,  in  some 
general  way,  those  that  are  the  most  common  and 
most  damaging. 

1.  Monotony,  or  too  little  variation  of  pitch. 
The  voice  in  speaking  may  run  along  nearly  on 
the  same  line  of  radical  pitch,  through  a  whole  sen- 
tence, or  paragraph,  or  even  a  discourse.  This  fre- 
quently arises  from  commencing  too  high,  so  that 
the  compass  of  the  voice  does  not  allow  of  its  rising 
and  falling  in  melodious  variations.  The  result,  in 
this  case,  is  a  kind  of  monotonous  rant,  which  is  ex- 
tremely unpleasant,  and  even  painful  to  hear.  In 
other  cases,  the  pitch  of  the  voice  is  too  low  through- 
out. This  may  be  due  to  a  want  of  emotion  in  the 
speaker,  or  to  timidity,  or  to  other  causes.  The  re* 
suit  is  a  monotonous  tameness,  which  is  worse  per- 
haps than  rant.  In  both  cases;  there  is  no  melodj 
in  the  delivery. 


Pitch  and  Inflection  327 

2.  Sing-song,  or  recurrence  of  the  same  or  similar 
variations. 

The  too  frequent  recurrence  of  the  same  changes 
of  pitch,  is  a  very  common  violation  of  melody. 
The  speaker  commences  all  his  sentences  nearly  or 
quite  on  the  same  pitch ;  in  each  sentence,  he  runs 
over  nearly  the  same  routine  of  changes;  at  each 
change,  he  delivers  a  few  words  as  nearly  as  possi- 
ble on  the  same  line  of  radical  pitch  ;  and  he  closes 
his  sentences  with  about  the  same  cadence.  In 
such  cases,  moreover,  the  discrete  changes  will 
commonly  be  found  to  predominate  over  the  con- 
crete, accompanied  with  an  undue  prolongation  of 
the  last  syllables  of  the  words.  The  effect  of  all  this 
is  what  is  called  "the  college  tone,"  or  "college 
sing-song,"  which  turns  speaking  into  singing,  or 
rather  into  the  dullest  kind  of  chanting,  and  is  ex- 
tremely difficult  to  correct  when  it  has  once  be- 
come a  habit. 

3.  False  changes  in  the  body  of  the  sentence. 
Many  speakers  end  almost  every  clause  in  their 

sentences  with  the  full  downward  skip,  allowing  the 
voice  to  fall  as  low  at  the  end  of  clauses  as  at  the 
end  of  the  sentence.  This  renders  the  delivery,  with 
respect  to  melody,  extremely  harsh  and  abrupt.  It 
is  always,  moreover,  a  violation  of  melody  to  let  the 
voice  fall  where  it  ought  to  rise,  and  vice  versa, 
although  the  determination  of  these  cases  belongs 
rather  to  expression  than  to  melody. 

4.  False  cadences,  or  false  changes  at  the  close  of  the 
sentence. 


328  The  Elements  of  Power. 

The  character  of  a  sentence,  with  respect  to  melo* 
dy,  is  most  conspicuous  at  its  close.  In  a  sentence 
ending  with  the  falling  inflection,  melody,  as  well 
as  expression,  commonly  requires  that  the  voice 
should  fall  on  the  last  word  to  the  pitch  on  which  it 
commenced.  This  fall,  moreover,  ought  not  to  be 
a  skip,  but  a  slide ;  i.  e.  the  last  word  should  begin 
quite  or  nearly  on  the  pitch  of  the  preceding,  and 
the  voice  should  slide  down  on  that  word  to  the 
initial  pitch  of  the  sentence.  Instead  of  which, 
many  speakers  drop  the  voice  on  the  last  word  by  a 
skip,  often  of  two  or  three  degrees  of  the  scale,  the 
effect  of  which  is  always  more  or  less  of  the  sing- 
song. Others  close  their  sentences  on  the  middle 
instead  of  the  lowest  pitch,  the  effect  of  which  is 
like  that  of  ending  a  tune  on  a  sound  not  in  full  ac- 
cord with  the  keynote.  Others  again,  and  not  a  few, 
close  every  sentence  with  a  little  rising  inflection  on 
the  last  syllable,  like  the  upward  flourish  of  a  little 
dog's  tail,  which  renders  the  gravest  discourse 
ludicrous. 

5.   Too  frequent  and  too  great  clianges  of  pitch. 

When  the  variations  of  pitch  are  too  frequent  or 
too  great,  especially  the  slides  of  the  voice,  the 
effect  in  public  speaking  is  to  render  it  too  conver- 
sational. The  measure  and  proportion  of  the  varia- 
tions to  each  other,  which  are  essential  to  melodi 
ous  speech,  are  lost ;  and  the  delivery  is  wanting  in 
dignity,  and  in  respect  for  the  audience. 


Pitch  and  Inflect  ion.  829 

( 194.  The  principal  function  of  pitch  and  inflection,  Is  in 
the  expression  of  sentiment. 

The  changes  of  pitch,  both  concrete  and  discrete, 
upwards  and  downwards,  are  one  of  the  principal 
means  of  attaining  to  full  and  adequate  expression, 
both  of  thought  and  feeling.  In  fact,  there  are  in- 
numerable differences  and  shades  of  sentiment 
which  are  incapable  of  being  expressed  by  any 
other  means.  Hence  it  is  absolutely  necessary  for 
the  student  to  give  the  subject  his  attention,  bear- 
ing in  mind,  however,  that  the  few  principles  and 
rules  which  follow,  do  constantly  modify  and  limit 
each  other.  For  although  the  writers  on  Elocution 
have  given  us  a  vast  body  of  rules,  some  of  them  as 
many  as  fifty,  to  determine  where  the  upward  and 
downward  skips,  and  where  the  rising  and  falling 
slides,  should  occur,  it  is  perfectly  certain  that,  ex- 
cept in  a  few  cases,  no  invariable  rules  can  be  laid 
down. 


6  195.  The  sentiment  determines  the  changes  of  pitch  and 
inflection. 

This  is  the  most  general  principle  applicable  to 
the  subject.  It  applies  to  questions  equally  with 
all  other  forms  of  expression.  For  although  it  is 
often  supposed  that  a  question  mark  (?)  indicates 
the  rising  inflection,  it  will  be  found,  upon  examina- 
tion, that  questions  take  either  the  rising  or  falling 
inflection,  according  to  the  sentiment  which  they  are 


330  The  Elements  of  Poweb. 

intended  to  express,  and  the  one  perhaps  as  often 
as  the  other.  This  may  be  evinced  by  one  or  two 
examples. 

1.  The  former  part  of  the  following  sentence  re- 
quires a  high  pitch  of  the  voice,  reaching  the  high- 
est pitch  on  the  words,  weak,  and  unable ;  whilst  the 
latter  part,  although  a  question,  because  the  senti- 
ment gives  the  principal  emphasis  to  the  word,  when, 
closes  with  the  full  downward  slide  on  the  word, 
stronger. 

They  tell  us,  sir,  that  we  are  weak,  and  unable  to  cope  with  so 
formidable  an  adversary  ;  but  when  shall  we  be  stronger  ? 

2.  In  the  following  questions,  the  last  words  take 
either  inflection,  according  to  the  sentiment  which 
the  speaker  intends  to  express.  If  the  sentiment 
require  the  emphasis  on  the  verb,  is,  both  questions 
will  close  with  the  downward  slide ;  but  if  the  prin- 
cipal emphasisi  be  placed  upon  the  words,  servant 
and  slave,  each  will  take  a  strong  rising  inflection. 

Ts  Israel  a  servant  ?    Is  he  a  home-born  slave  ? 

We  shall  find,  in  all  that  follows  on  this  subject, 
that  the  form  of  the  sentence,  whether  interrogative 
or  affirmative,  has  little  or  nothing  to  do  with  de- 
tern  ining  its  changes  of  pitch  and  inflection,  and 
that  these  depend  wholly  upon  the  character  of  the 
sentiment  to  be  expressed. 


Pitch  and  Inflection-.  331 


&  11)6.  Higher  and  lower  ranges  of  pitch  and  inflection  ex- 
press different  degrees  of  emotion  and  passion. 

This  is  another  general  principle,  and  one  of  the 
greatest  importance.  For  if  we  utter  the  exclama- 
tion, ah !  expressing  a  slight  degree  of  surprise,  it 
naturally  takes  a  slight  rising  inflection,  running 
through  the  interval  of  the  second  or  third  of  the 
musical  scale  ;  a  greater  degree  of  surprise  will  ex- 
press itself  by  an  upward  slide  on  the  word,  of  a 
fourth  or  fifth  ;  and  for  a  very  strong  expression  of 
this  feeling,  the  rising  inflection  will  traverse  a 
whole  octave.  In  like  manner,  the  word,  no,  express- 
ing a  mild  dissent,  will  commence  on  the  middle 
pitch  of  the  voice,  and  take  a  slight  falling  inflec- 
tion ;  when  pronounced  so  as  to  express  a  stronger 
dissent,  it  will  commence  on  a  higher  pitch,  and 
end  in  a  longer  downward  slide ;  and  when  it  ex- 
presses a  very  strong  or  passionate  dissent,  the 
downward  slide  will  run  through  a  whole  octave. 
Thus,  no,  no,  NO. 


§  197.  Thoughts  without  emotion  express  themselves  on  the 
middle  pitch  of  the  voice,  with  the  least  variations. 

Plain  explanatory  passages,  requiring  little  em- 
phasis, being  altogether  destitute  of  any  peculiar 
emotion,  are  thus  expressed.  Also,  where  the  speaker 
is  supposed  to  be  incapable  of  human  passion,  as  in 
the  case  of  a  spiritual  being,  an  appariti  Dn  or  ghost, 
his  delivery  should  be  as  nearly  as  possible  in 
monotone,  that  is,  on  the  same  line  of  pitch.     In 


332  The  Elements  of  Power. 

this  way  the  words  of  the  spectre  in  the  book  *>f 
Job,*  should  be  pronounced. 

Shall  mortal  man  be  more  just  than  God? 
Shall  a  man  be  more  pure  than  his  Maker  ? 

So  also  the  speech  of  the  ghost  in  Hamlet. 

Thus  was  L  sleeping,  by  a  brother's  hand, 
Of  life,  of  crown,  of  queen,  at  once  despatched ; 
Cut  off  even  in  the  blossoms  of  my  sin, 
Unhouseled,  disappointed,  unannealed  ; 
No  reckoning  made,  but  sent  to  my  account, 
With  all  my  imperfections  on  my  head. 


&  198.  Calm  and  equable  emotions  express  tli  em  selves  on  the 
middle  pitch,  with  slight  variations. 

In  the  expression  of  sentiments  in  which  there  is 
no  peculiar  strength  or  vivacity  of  feeling,  the  voice 
ranges  on  its  natural  or  middle  pitch,  with  little 
variation,  whether  of  skip  or  slide,  upwards  or 
downwards.  The  variations,  in  this  case,  will  seldom 
pass  beyond  one  tone  or  degree  of  the  scale.  This 
is  the  predominant  interval  in  common  speech.  It 
has  upon  the  ear  a  pleasing  effect,  analogous  to  that 
produced  upon  the  eye  by  the  prevailing  green  of 
nature.  In  the  words  of  Dr.  Rush,  "  The  ear  has  its 
green  as  well  as  the  eye,  and  the  interval  of  the  sec- 
ond is  widely  spread  to  relieve  sensation  from  the 
fatiguing  stimulus  of  more  vivid  impression." 

•  Job,  ch.  iii.  v.  IT. 


Piich  and  Inflection.  3«33 


Writers  of  every  age  have  endeavored  to  show  that  pleasure  u 
in  us,  and  not  in  the  objects  offered  for  our  amusement.  If  the 
soul  be  happily  disposed,  everything  becomes  capable  of  affording 
(entertainment,  and  distress  will  almost  want  a  name.  Every  oc- 
currence passes  in  review  like  the  figures  in  a  procession  ;  some 
Uiay  be  awkward,  others  ill-dressed,  but  none,  except  a  fool,  is  for 
this  enraged  with  the  master  of  the  ceremonies. 


§  199.  Strong  emotions  express  themselves  in  more  frequent 
and  greater  variations  of  pitch  and  inflection. 

When  the  emotions  are  more  animated  and  ex- 
cited than  in  the  preceding  case,  the  voice  naturally 
changes  its  pitch  more  frequently,  and  ranges 
through  wider  intervals.  In  this  case,  the  range 
both  of  skip  and  slide,  up  and  down,  will  be  to  the 
extent  of  a  third  or  fifth  of  the  scale. 

Is  not  this  crime  enough  to  turn  Mercy  herself  into  an  execu- 
tioner !  You  convict  for  murder — here  is  the  hand  that  murdered 
innocence.  You  convict  for  treason — here  is  the  vilest  disloyalty 
to  friendship.  You  convict  for  robbery — here  is  one  who  plunder 
ed  Virtue  of  her  most  precious  jewel. 


%  200.  Violent  passions  express  themselves  in  the  greatest 
variations  of  pitch  and  inflection. 

In  fine,  when  violent  and  uncontrollable  passiona 
clamor  for  expression,  the  voice  rises  to  its  highest 
and  sinks  to  its  lowest  pitch,  traversing,  with  rapic] 
and  extreme  variations,  often  the  whole  octave. 
This  will  be  found  to  be  the  case  in  any  true  ex- 
pression of  the  insane  remorse  and  grief  of  Othello, 
over  the  body  of  the  murdered  Deedemona,  after  he 
had  discovered  her  innocence. 


334  The  Elements  of  Poweb. 


O  cursed  slave !    Whip  me,  ye  devils, 
Frcm  the  possession  of  this  heavenly  sight ! 
Blow  me  about  in  winds — roast  me  in  sulphur^ 
Wash  me  in  steep-down  gulfs  of  liquid  fire  1 
O  Desdemona  !    Desdemona !    Dead ! 
Dead!    O!  0!  0! 


§  201.  Subdued  emotions  of  grief,  sorrow,  pity,  desire,  loit, 
hope,  and  fear,  express  themselves  in  variations  of  th« 
semitone. 

The  subdued  and  chastened  expression  of  these, 
and  other  similar  affections  and  passions,  very  fre- 
quently consists  of  semitone  variations,  in  which  the 
voice  rises  and  falls,  both  concretely  and  discretely, 
a  semitone  above  and  below  the  middle  line  of  pitch. 
Of  course,  this  rule  does  not  exclude  other  varia- 
tions, but  these  are  the  most  frequent,  and  to  a  cer- 
tain extent  indispensable.  Hence  they  are  much 
heard  in  the  language  of  complaint,  condolence, 
and  of  audible  prayer.  In  this  last  case,  if  the 
greater  concrete  variations  of  the  second,  third  and 
fifth,  predominate,  the  result  is  an  irreverent,  unde- 
votional,  conversational  manner,  which  suggests 
that  he  who  is  praying  feels  himself  to  be  almost  on 
a  footing  of  equality  with  the  Being  addressed,  and 
which  consequently  is  extremely  offensive.  It  has 
been  remarked  that  children  cry  in  semitones. 
Hence  the  pathetic  complaint  of  Desdemona,  aftei 
being  charged  by  her  husband  with  infidelity,  can- 
not be  adequately  rendered  but  by  means  of  thesf 
semitone  variations  of  pitch. 


Pitch  and  Inflection.  335 

logo.  Madam,  how  is  it  with  you  ? 

Desdemona  (with  sobs  and  tears). 

Alas  !    I  cannot  tell.     Those  that  do  teach  young  babes. 

Do  it  with  gentle  means  and  easy  tasks. 

He  might  have  chid  me  so,  for,  in  good  faith, 

I  am  a  child  to  chiding. 


\  202.  Grave  and  earnest,  but  not  impassioned  sentiments, 
express  themselves  in  variations  of  the  second  and  third, 
and  mostly  in  the  falling  inflections. 

In  the  following  example  these  variations  prevail 
and  every  clause  ends  in  a  downward  slide  of  the 
voice. 

Be  wise  to-day  ;  'tis  madness  to  defer. 
Next  day  the  fatal  precedent  will  plead. 
Thus  on,  till  wisdom  is  pushed  out  of  life. 
Procrastination  is  the  thief  of  time  ; 
Year  after  year  it  steals,  till  all  are  fled, 
And  to  the  mercies  of  a  moment,  leaves 
The  vast  concerns  of  an  eternal  scene. 


$  203.  Sentiments  of  great  animation  and  vivacity  express 
themselves  in  variations  of  the  third  and  fifth,  with  fre- 
quent upward  slides. 

As  the  interval  of  the  second  is  the  green  of  the 
ear,  so  "  these  variations  of  the  third  and  fifth  are  the 
lights  and  shadows  of  discourse,  and  are  indispen- 
sable to  give  life  and  power  to  the  vocal  picture." 
They  predominate  in  the  expression  of  wit  ar_d  play- 
fulness, and  of  all  sentiments  of  a  highly  animated 
vharacter.     Skips  of  the  fifth,  indeed,  do  not  often 


336  The  Elements  of  Power. 

occur  in  such  discourse,  but  slides  of  this  interval 
are  not  at  all  uncommon.  In  animated  and  playful 
conversation,  the  range  of  the  voice  up  and  down 
theso  intervals,  both  in  skips  and  slides,  is  incessant 
When  they  prevail  in  what  is  intended  to  be  grave 
and  dignified,  and,  of  course,  not  highly  impassioned 
discourse,  they  lower  its  dignity,  and  render  it  con- 
versational in  style  or  manner.  The  wit  and  play- 
fulness and  ever  restless  vivacity  of  Falstaff,  afford 
constant  examples  of  these  variations. 

A  good  sherris  sack  hath  a  two-fold  operation  in  it  It  ascends 
me  into  the  brain,  and  dries  me  there  all  the  foolish  and  dull  and 
crudy  vapors  which  environ  it ;  makes  it  apprehensive,  quick, 
forgetive  (inventive)  full  of  nimble,  fiery  and  delectable  shapes  ; 
which,  delivered  o'er  to  the  voice,  the  tongue,  which  is  the  birth, 
becomes  excellent  wit  The  second  property  of  your  excellent 
sherris,  is  the  warming  of  the  blood  ;  which,  before  cold  and  set- 
tled, left  the  liver  white  and  pale,  which  is  the  badge  of  pusilla- 
nimity and  cowardice :  but  the  sherris  warms  it,  and  makes  it 
course  from  the  inwards  to  the  parto  extreme ;  it  illumineth  the 
face,  which  as  a  beacon  gives  warning  to  all  the  rest  of  this  little 
kingdom,  man,  to  arm  ;  and  then  the  vital  commoners,  and  inland 
petty  spirits,  muster  me  all  to  their  captain,  the  heart ;  who,  great 
and  puffed  up  with  this  retinue,  doth  any  deed  of  courage — and 

this  valor  comes  of  sherris Hereof  comes  it  that  Prince  Harry 

is  valiant  For  the  cold  blood  he  did  naturally  inherit  from  his 
father,  he  hath,  like  lean,  sterile  and  bare  land,  manured,  hus- 
banded and  tilled,  with  excellent  endeavor  of  drinking  good,  and 
good  score  of  fertile  sherris  ;  [so]  that  he  is  become  very  hot  aud 
valiant  If  I  had  a  thousand  sons,  the  first  human  principle  I 
would  teach  them,  should  be  to  forsw  tar  thin  potation*,  and  addici 
themselre*  to  sack. 


Pitch  and  Inflection.  33? 


|  204.  Animated  expressions  of  certainty,  positiveness,  and 
determination,  range  through  intervals  of  the  third  and 
fifth,  mostly  with  falling  inflections. 

The  following  passage  affords  an  example  of  snch 
intervals,  more  of  the  third,  however,  than  of  the 
fifth,  and  nearly  every  clause  ends  with  a  downward 
slide. 

Nay,  more — I  can,  and  I  will  say,  that  as  a  peer  of  parliament,  as 
speaker  of  this  right  honorable  house,  as  keeper  of  the  great  seal, 
as  guardian  of  his  majesty's  conscience,  as  Lord  High  Chancellor 
of  England — nay  even  in  that  character  alone,  in  which  the 
noble  duke  would  think  it  an  affront  to  be  considered,  but  which 
charact  r  none  can  deny  me,  as  a  man — I  am  at  this  moment  as 
respectable,  I  beg  leave  to  add,  as  much  respected,  as  the  proudest 
peer  I  now  look  down  upon. 


§  205.  Animated  expressions  of  uncertainty,  hesitation,  sur- 
prise and  irony,  range  through  intervals  of  the  third  and 
fifth,  mostly  with  rising  inflections. 

The  bitter  irony  of  the  Prophet  Elijah,  ridiculing 
the  prophets  of  Baal,  exhibits  these  changes  of  pitch 
and  inflection  in  a  very  striking  manner,  although 
on  several  of  the  words,  the  inflections  may  be  down- 
wards with  the  best  effect.  On  several  of  the  words, 
also,  the  wave,  or  double  inflection  (§  213)  is  re- 
quired. 

Cry  aloud,  for  he  is  a  god.  Either  he  is  talking,  or  he  is  pursu- 
ing, or  he  is  on  a  journey,  or  perad venture  he  sleepeth,  and  must  be 
awaked. 

So  also  in  the  bitter  irony  of  Job's  reply  tc  his 
friends. 


338  The  Elements  of  Poweb. 

jl%o  doubt,  ye  are  the  people,  and  wisdom  will  die  with  you, 

Solemn  irony,  such  as  that  of  our  Saviour,  ad 
Iressed  to  his  sleeping  disciples,  more  frequently 
takes  the  falling  inflection. 

Sleep  on  now,  and  take  your  rest ;  (this  is,  indeed,  a  time  for  yoi 
to  sleep  !)  for  the  Son  of  Man  is  betrayed  into  the  hands  of  sinners 

In  the  reply  of  the  woman  at  the  well  of  Samaria 
to  our  Lord,  we  have  a  fine  expression  of  doubt 
and  surprise,  with  these  strong  upward  inflections 
on  the  words  in  italics. 

Sir,  thou  hast  nothing  to  draw  with,  and  the  well  is  deep  ;  from 
whence  then  hast  thou  that  living  water  ?  Art  thou  greater  than 
our  father  Jacob,  who  gave  us  the  well,  and  drank  thereof  himself, 
and  his  children,  and  his  cattle  ? 

§  206.  Questions  which  require  answers,  if  the  euiphasis  be 
not  on  the  interrogative  word,  commonly  take  the  rising 
inflection. 

Of  such  questions  there  are  two  classes  : 

1.  Those  expressing  a  desire  for  information,  which 
is  to  be  furnished  by  the  answer  ;  a3  in  the  following 
example,  in  which  the  words,  looked,  and  frowningly, 
both  take  the  rising  inflection,  but  the  latter  a  much 
longer  one  than  the  former. 

What !  looked  he  frowningly  ? 

2.  Those  intended  to  draio  a  mental  response  from 
the  audience,  but  which  require  no  vocal  answer. 
Thus  the  following  questions  are  intended  to  cal! 
forth  the  most  emphatic  mental  response ;  conse- 


Pitch  and  Inflection.  339 

quently  the  words,  now,  and  stoop,  take  the  strongest 
rising  inflections. 

What !  are  ye  daunted  now  ?    Now  will  ye  stoop  T 


{  207.  Questions  which  express  affirmation,  except  when  the 
emphasis  is  on  the  last  word,  commonly  take  the  falling 
inflection. 

This  rule  might  have  been  expressed  nearly  as 
well  in  the  form  of  the  converse  of  the  preceding, 
viz  :  Questions  which  require  no  answer,  either  vocal 
or  mental,  commonly  take  the  falling  inflection.  For 
the  principal  reason  why  questions  require  no  an- 
swer, is  that  they  express  affirmation.  In  applying 
the  rule  in  either  form,  it  is  necessary  to  scrutinize 
the  question  narrowly,  to  see  whether  it  does  not  re- 
quire a  mental  response.  In  the  following  questions, 
the  italicized  words  all  close  with  the  falling  slide. 

Have  I  not  reason  to  look  pale  and  dead  ? 

Is  she  not  with  the  dead,  the  quiet  dead,  where  all  is  peace  T 


§  208.  Questions  in  which  the  principal  emphasis  is  on  a  sub- 
stantive verb,  or  an  auxiliary,  commonly  take  the  falling 
inflection. 

Cases  in  which  the  substantive  verb  or  auxiliary 
is  the  last  word  in  the  sentence,  are  exceptions  to 
this  rule,  as  in  the  questions,  He  is  ?  They  have  ? 
in  which  the  last  words  take  the  rising  slide*  The 
following  are  examples  under  the  rule 


SiO  The  Elements  of  Power. 

Did  he  show  himself  a  brother?  7s  he  not  rightly  called  a  snp 
planter  ?  Can  I  do  otherwise  ?  Must  I  not  do  it  ?  Have  I  not 
given  him  enough? 

In  these,  and  all  similar  cases,  the  questions  close 
with  falling  inflections.  But  if  the  principal  empha- 
sis were  on  any  other  words,  the  questions  would  all 
take  the  rising  slides,  as  follows. 

Did  he  show  himself  a  brother  ?  Is  he  not  righily  called  a  sup- 
planter  ?    Hare  I  not  given  him  enough  ? 

$  209.  Questions  in  which  the  interrogative  words,  such  as 
who,  which,  what,  when,  whence,  where,  why,  how,  are 
followed  by  other  words,  commonly  take  the  falling 
inflection. 

This  rule  is  nearly  or  quite  universal,  and  one  of 
great  importance.  For  this  class  of  questions  is 
probably  more  numerous  than  all  others  taken  to- 
gether ;  and  the  attempt  to  render  them  with  the 
rising  inflection,  mars  the  elocution  of  a  great  number 
of  speakers.  In  the  following,  and  all  similar  cases, 
the  questions  end  with  falling  slides. 

From  whence  then  hast  thou  that  living  water?  For  why  will 
ye  die  ?  O  death,  where  is  thy  sting  ?  O  grave,  where  is  thy  vic- 
tory ?    Who  shall  deliver  me  from  the  body  of  this  death  ? 

In  the  case  of  such  double  questions  as,  When, 
did  you  say?  and  in  case  the  interrogative  is  the 
last  or  sole  word  in  the  question,  it  may  take  either 
Uhn  rising  or  falling  slide.  If  e.  g.  I  say,  He  ia 
now  in  Baltimore;  and  you,  not  perfectly  under- 
standing me,  ask,  Where  ?  or  Where,  did  you  say  * 
tiie  question  will  always  take  the  rising  inflection 


Pitch  and  Inflection.  341 


But  if  I  say,  He  is  now  lying  verj  ill,  and  you  ask 
Where  ?  the  question  will  take  the  falling  slide. 


§  210.  Double  questions,  implying  a  negative  in  the  former, 
and  an  affirmation  in  the  latter,  take  the  rising  inflection 
on  the  former,  and  the  falling  on  the  latter. 

This  rule  illustrates  the  importance  of  this  whole 
subject  of  inflection  in  a  very  striking  manner. 
For  such  questions  as  the  following, 

Was  he  a  poet  ?  or  an  orator  ? 

are  susceptible  of  a  great  variety  of  meanings,  which 
can  be  expressed  in  no  other  way  than  by  different 
inflections.  For  if  in  this  question,  I  would  ask 
whether  the  person  was  either  a  poet  or  an  orator,  or 
neither,  both  words,  poet  and  orator,  take  the  rising 
inflection.  If  I  would  affirm  that  he  was  neither, 
the  emphasis  being  on  the  substantive  verb,  was, 
then  both  take  the  falling  slide.  But  if  I  mean  to 
deny  that  he  was  a  poet,  and  to  affirm  that  he  was 
an  orator,  or  if  I  would  learn  which  of  the  two  he 
was,  the  former  question  takes  the  upward,  the  lat- 
ter the  downward  slide  ;  while,  to  distinguish  thostj 
frwo  last  cases  from  each  other,  we  have  to  resort  to 
a  different  emphasis  on  the  word,  orator.     Again, 

Is  a  candle  brought  to  put  under  a  bushel,  or  under  a  bedf 

This  question  in  itself  is  capable  of  a  similar  variety 
of  meanings    But  because  its  object  is  to  call  forth  9 


342  The  Elements  of  Powek. 

mental  response,  affirming  that  a  candle  is  not  brought 
to  be  pat  under  a  bushel,  nor  under  a  bed,  the  empha- 
sis being  on  bushel,  and  bed,  both  words  take  the 
rising  inflection.  But  now,  if  the  rising  inflection  be 
given  to  the  former  clause,  and  the  falling  to  the 
latter,  the  question  will  express  either  a  desire  to 
learn  which  of  the  two  is  the  proper  place  for  a 
candle,  or  it  will  affirm  that  a  candle  is  not  brought 
to  be  placed  under  a  bushel,  but  is  emphatically  to 
be  put  under  a  bed. 

Let  any  one  try  these  changes,  and  he  cannot  fail 
to  satisfy  himself  of  the  great  significance  of  the 
inflections  of  oral  speech. 


§  211.  Words  and  phrases  in  pairs  commonly  take,  the  first  a 
rising,  the  second  a  falling  inflection. 

This  variation  is  a  requirement  both  of  melody 
and  of  expression.  It  is  exemplified  in  the  follow- 
ing. 

For  I  am  persuaded  that  neither  death  nor  life,  nor  angels,  noi 
principalities  nor  powers,  nor  things  present  nor  things  to  come,  noi 
height  nor  depth,  nor  any  other  creature,  shall  be  able  to  separata 
as  from  the  love  of  God,  which  is  Christ  Jesus  our  Lord. 


§  212.  The  principal  inflections  always  occur  on  the  emphatic 
words. 

This  is  equally  true  in  questions  and  all  othei 
sentences.  It  will  require  more  full  treatment  undei 
the  head  of  emphasis.     In  asking  questions,  it  is  a 


Pitch  and  Inflection.  343 

common  error  to  let  the  voice  rise  on  an  inclined 
plane,  as  it  were,  equably  from  the  beginning  to  the 
end  of  the  sentence.  It  is  not  possible  to  give  ade- 
quate expression  to  the  sentiment  in  this  way.  The 
principal  inflection  in  questions  should  always  be 
given  to  the  most  emphatic  word ;  and  in  order  to 
do  this,  the  voice  must  often  fall  on  the  preceding 
words  to  a  low  pitch. 

Thus,  in  the  following  example,  the  voice  rises  by 
inflection  on  the  first,  seems,  through  a  fifth  or  an  oc- 
tave, and  the  following  word,  Madam,  is  pronounced 
on  the  high  pitch  thus  attained,  or  with  a  slight  fall. 

Seems,  Madam? 
Nay,  it  is — I  know  not  seems. 

Again,  in  the  following,  the  rising  inflection  on 
who,  king,  father,  runs  through  a  fifth  or  an  octave, 
and  in  order  to  this,  the  voice  must  fall  from  king  to 
the  next  word  through  a  like  interval. 

Saw  who  ? 
My  Lord,  the  King,  your  father. 
The  King?  my  father? 

The  case  is  similar  in  the  following  example,  in 
which,  after  a  full  rise  on  the  word,  dog,  the  -voice 
runs  along  on  the  high  pitch  thus  attained  to  thfi 
word,  thing,  on  which  occurs  another  slight  rise. 
Is  thy  servant  a  dog,  that  he  should  do  this  great  thing? 

(>nce  more : 

Moneys  is  your  suit 
What  should  I  say  to  you  ?    Should  I  not  say, 
Hath  a  dog  money  ?    Is  it  possible, 
That  a  cur  should  raise  three  thousand  ducats? 


344  The  Elements  of  Power 

Heie  upon  the  emphatic  words,  dog.  and  cur,  the 
voice  should  rise  in  an  impassioned  slide  through  a 
fifth  or  an  octave,  and  the  words  that  follow  in  each 
question,  should  be  pronounced  on  the  high  pitch 
thus  attained,  with  another  slight  rise  on  the  last 
words. 


§  213.  The  wave,  or  circumflex  variation  of  pitch,  is  used  to 
express  drollery,  impassioned  irony,  sarcasm,  and  sneer. 

This  variation  of  pitch  is  a  combination  of  the 
two  slides  on  the  same  word,  and  often  on  the  same 
syllable.  Sometimes  the  upward  movement  comes 
first,  and  sometimes  the  downward.  The  elocution- 
ists run  into  great  minuteness  in  the  treatment  of 
this  element  of  expression;  what  they  have  given 
us  can  hardly  be  made  practical  to  any  but  the 
most  thorough  students.  It  is  true,  however,  that 
these  waves  of  the  voice  are  often  extremely  effec- 
tive in  the  expression  of  their  appropriate  senti- 
ments. Those  who  would  see  them  thoroughly  dis- 
cussed, are  referred  to  Dr.  Rush,  and  Professors 
Mandeville  and  Day.  Here  an  example  or  two 
must  suffice. 

Hereof  comes  it  that  Prince  Harry  is  valiant. 

On  the  word,  valiant,  the  voice  runs  up  and  down 
through  a  fifth.  So  on  the  word,  you,  in  the  follow- 
ing. 

You  Prince  of  Wales 


Pitch  and  Inflection.  3-15 

Again,  in  the  words,  Daniel  and  now,  in  the  follow- 
ing. 

A  second  Daniel,  a  Daniel,  Jew. 

Now,  Infidel,  I  have  thee  on  the  hip .... 

A  Daniel,  still  I  say,  a  second  Daniel 

I  thank  thee,  Jew,  for  teaching  me  that  woii 


^% 


CHAPTER  IX. 

TIME    AND    PAUSE. 

§  214.  The  time  occupied  in  tho  delivery  of  thoughts  and  sen- 
timents, is  an  element  of  their  expression.— Pause  is  a 
function  of  time. 

We  have  seen  that  increasing  the  time  of  syllables 
is  one  form  of  accentuation  (§  126) ;  and  we  shall 
hereafter  see  that  it  is  also  an  element  of  emphasis, 
(§  235).  But  here  we  have  to  consider  the  time 
which  is  occupied  in  the  delivery  of  a  passage,  whe- 
ther a  clause,  or  sentence,  or  paragraph,  or  general 
division  of  a  discourse,  in  its  relations  to  the  expres- 
sion of  the  meaning  and  sentiment.  For  the  various 
grammatical  and  logical  relations  of  thought  cannot  be 
fully  expressed  in  speech,  otherwise  than  by  corres- 
ponding modifications  of  time  and  pause.  Some 
thoughts  and  sentiments  require  to  be  slowly  deliv- 
ered, with  pauses  of  considerable  length  between  the 
words  and  parts  of  the  discourse ;  others  more  ra- 
pidly, with  shorter  pauses.  When  these  requirement!* 
are  violated,  the  speaking  is  either  powerless,  or  ita 
power  is  greatly  diminished.  Only  the  most  ganeral 
principles,  however  can  be  here  laid  down,  chiefly  foi 


Time  and  Pause.  347 

*he  purpose  of  drawing  the  attention  of  the  student 
fco  the  subject,  that  he  may  be  led  to  consider  and 
determine  for  himself,  in  each  case,  what  modifica- 
tions of  time  and  pause  may  be  required  by  the 
character  of  the  thoughts  and  sentiments  which  he 
has  to  express. 


§215.  Elevated,  sublime,  solemn  and  sorrowful  sentiment? 
require  slow  time. 

This  is  one  of  the  most  obvious  general  rules  of 
expression.  Such  sentiments  naturally  prompt  to 
slow  movements  of  every  other  kind,  besides  that  of 
speaking.  A  burial  procession  moves  slowly.  A 
dead-march,  or  funereal  dirge,  is  performed  in  slow 
time.  In  the  same  way,  elevated,  sublime,  solemn  and 
sorrowful  sentiments  require  to  be  slowly  delivered. 
A  rapid  delivery  of  such  sentiments  destroys  their 
effect,  and  turns  them  into  burlesque.  It  is  as  incon- 
gruous as  the  performance  of  a  dead  march  in 
quick  time,  or  as  the  galloping  of  a  funeral  proces- 
Bion.  Yet,  however  slow  the  enunciation  may  be, 
it  must  never  fail  to  maintain  a  firm  and  steady 
movement ;  and  it  must  be  carefully  guarded  against 
becoming  too  slow,  which  would  render  it  dull  and 
tiresome,  or  put  the  audience  to  sleep.  The  following 
passage  affords  a  good  example  of  slow  time. 

Behold,  I  show  you  a  mystery  ;  we  shall  not  all  sleep,  but  we 
shall  all  be  changed — in  a  moment,  in  the  twinkling  of  an  eye,  at 
the  last  trump.  For  the  trumpet  shall  sound,  and  the  dead  shall 
be  raised,  and  we  shall  be  changed.     For  this  corruptible  must  pu1 


348  The  Elements  of  Power. 


on  incorruption,  and  this  mortal  must  put  on  immortality.  Sc 
when  this  corruptible  shall  have  put  on  incorruption,  and  this 
mortal  shall  have  put  on  immortality,  then  shall  be  brought  to 
pass  the  saying  that  is  written,  Death  is  swallowed  up  in  victory. 
O  death,  where  is  thy  sting?    O  grave,  where  is  thy  victory? 


§216.  Condensed,  abstruse,  and  obscure  passages  require 
slow  time. 

The  reason  of  this  rule  is  that,  where  the  thought 
is  difficult  or  obscure  from  any  cause,  more  time 
must  be  allowed  to  enable  the  audience  to  possess 
themselves  of  it — they  must  have  more  time  than 
otherwise  would  be  required,  to  elicit  the  sense  or 
meaning  of  the  discourse ; — if  it  be  rapidly  delivered, 
it  becomes  unintelligible.  Here,  as  before,  however, 
it  is  very  important  to  guard  against  too  great  slow- 
ness, and  for  the  same  reason  (§  215).  In  the  fol- 
lowing example,  very  slow  time,  and  long  pauses  are 
required,  because  the  thought  is  both  condensed  and 
obscure,  and  at  the  same  time  the  sentiments  are 
Bolemn  and  sublime. 

Thou  from  primeval  nothingness  did'st  call, 
First  chaos,  then  existence.     Lord,  on  thee 
Eternity  had  its  foundation  ;  all 
Sprang  forth  from  thee  ;  of  light,  joy,  harmony 
Sole  origin  ;  all  life,  all  beauty  thine. 
Thy  Word  created  all,  and  doth  create  ; 
Thy  splendor  nils  all  space  with  rays  divine. 
Thou  art,  and  wert,  and  sbalt  be,  glorious,  great, 
Life-giving,  life-preserving  Potentate. 


Time  and  Pause.  349 


g217.    Grave,    serious   and   moderate   sentiments  require 
moderate  time. 

The  delivery  of  such  sentiments  should  not  be  verv 
slow,  nor  yet  too  rapid — both  extremes  are  to  be 
oarefully  avoided.  For  if  the  movement  be  too  ra 
pid,  it  will  be  out  of  keeping  with  the  sentiments, 
which,  therefore,  will  fail  to  affect  the  minds  of  the 
audience  in  the  proper  manner  ;  and  if  it  be  too 
slow,  the  audience  will  be  constantly  running  ahead 
of  the  speaker,  and  will  soon  cease  to  give  their  at- 
tention. Nothing,  in  fact,  can  be  more  fatal  to  power 
in  delivery  than  for  the  speaker  to  allow  his  audienco 
to  keep  ahead  of  him.  This,  however,  is  partly  a 
rhetorical,  as  well  as  an  elocutionary  fault.  A  delib- 
erate or  moderate  movement  is  required  in  the  fol- 
lowing extract. 

The  firmest  works  of  man  are  gradually  giving  way  ;  the  ivy 
clings  to  the  mouldering  tower,  the  brier  hangs  out  from  the  shat- 
tered window,  and  the  wall-flower  springs  from  the  disjointed 
stones.  The  founders  of  these  perishable  works  have  shared  the 
same  fate  long  ago.  If  we  look  back  to  the  days  of  our  ancestors, 
to  the  men  as  well  as  to  the  dwellings  of  former  times,  they  become 
immediately  associated  in  our  imaginations,  and  only  make  the 
feelings  of  instability  stronger  and  deeper  than  before.  In  the 
spacious  domes  which  once  held  our  fathers,  the  serpent  hisses, 
and  the  wild  bird  sere 


)  218.  Sentiments  of  greater   vivacity  require  a  quicke? 
movement. 

The  following  is  an  example. 

When  over  the  hills  like  a  gladsome  bride, 
Morning  walks  forth  in  her  beauty's  pride, 


350  The  Elements  01  Poweb. 

ind  leading  a  band  of  laughing  hours, 
Brushes  the  dew  from  the  nodding  flowers, 
Oh  !  cheerily  then  my  voice  is  heard, 
Mingling  with  that  of  the  soaring  bird, 
Who  flingeth  abroad  his  matins  loud, 
As  he  freshens  his  wing  in  the  cold  gray  cloud. 

$219.  impassioned  sentiments  commonly  require  a  rapid 
delivery. 

Almost  all  the  passions,  except  those  of  grief,  sor- 
row, pity,  and  the  like,  when  in  a  high  state  of  ex- 
citement, prompt  to  rapid  motions,  both  of  body 
and  mind.  A  man,  when  thus  highly  excited,  does 
not  walk  nor  speak  in  a  slow  or  stately  manner ,  all 
his  motions  naturally  correspond  to  the  excited 
state  of  his  nervous  system,  and  of  his  mental  facul- 
ties. The  audience,  moreover,  naturally  partake  of 
the  speaker's  excitement ;  consequently  their  minds 
act  with  greater  rapidity  than  at  other  times.  This 
is  especially  true  and  significant  of  the  irascible  pas- 
sions. Hence  the  expression  of  such  impassioned 
sentiments  requires  a  rapid  movement ;  which,  how- 
ever, must  be  carefully  guarded  lest  it  become  so 
rapid  as  to  mar  the  articulation,  and  render  the 
speaking  unintelligible.  For  uncontrolled  passion 
always  tends  to  indistinctness  of  articulation.  Tn€ 
following  extract  requires  a  rapid  movement. 

Banished  from  Rome  ?    What's  banished  but  set  free 
From  daily  contact  with  the  things  I  loathe  ? 
Tried  and  convicted  traitor  !     Who  says  this  ? 
Who'll  prove  it  at  his  peril  on  my  head  ? 
Banished  ?    I  thank  you  for't — it  breaks  my  chain. 
I  held  some  slack  allegiance  till  this  hour  ; 
But  now  my   swoid's  my  own. — Smile  on,  my  lords 


Time  and  Pause.  361 

I  scorn  to  count  what  feelings,  withered  hopes, 

Strong  provocations,  bitter,  burning  wrongs, 

I  have  within  my  heart's  hot  cells  shut  up. 

But  here  I  stand  and  scoff  you.     Here  I  fling 

Hatred  and  full  defiance  in  your  face. 

Here  I  devote  your  Senate.     I've  had  wrongs 

To  stir  a  fever  in  the  blood  of  age, 

And  make  the  infant's  sinews  strong  as  steel. 


|  &**•   Trio   commencement  of  speeches,  heads  and  para- 
graphs, require  slower  time  than  the  subsequent  parts. 

This  is  a  rule  of  great  importance,  and  one  which  is 
often  violated  with  damaging  effect.  The  following 
are  some  of  the  reasons  upon  which  it  is  founded. 

1.  Slow  ti  ne  is  necessary  to  gain  the  attention  of  the 
('■udience. 

Of  course,  it  is  of  the  utmost  importance  to  fix  the 
attention  of  the  audience  at  the  beginning  of  the 
discourse  ;  hut  this  can  hardly  be  done,  unless  time 
be  given  them  to  master  the  full  meaning  of  the 
opening  words  and  sentences. 

2.  New  matter  is  presented. 

At  the  commencement  of  a  speech,  the  matter  pre- 
sented is  altogether  new  and  unfamiliar  to  the  minds 
of  the  audience.  Hence  it  is  naturally  more  difficult 
for  them  to  master  it.  It  cannot  be  anticipated, 
nor  comprehended  in  sequence  from  anything  going 
before.  Therefore  it  requires  to  bo  delivered  more 
slowly  than  the  subsequent  parts. 

3.  More  general  and  abstract  terms  are  commonly 
employed. 

The  speaker  properly  aims  at  first  to  communi* 


352  The  Elements  of  Power. 

cate  to  his  audience  some  conception  of  his  whok 
subject,  and  of  the  object  which  he  aims  to  accom- 
plish, that  they  may  be  able  to  anticipate,  in  some 
degree,  the  line  of  argument,  and  general  drift,  oi 
the  discourse  which  is  to  follow.  Hence  the  neces- 
sity of  abstractions  and  generalizations.  In  order 
to  master  these,  and  to  form  adequate  conceptions 
of  what  is  to  follow,  the  audience  must  have  time 
given  them  to  weigh  every  word.  If  the  commence- 
ment of  the  speech  be  hurriedly  delivered,  the  whole 
of  it  will  probably  be  a  mass  of  confusion  to  the 
audience. 

4.  The  mental  .operations  are  naturally  slower. 

At  the  commencement  of  a  speech,  the  feelings  of 
both  speaker  and  audience  are  yet  calm  and  placid ; 
consequently  their  minds  naturally  operate  less 
promptly  and  rapidly  than  in  the  subsequent  parts, 
when  their  emotions  and  passions  are  fully  excited, 
and  the  whole  mind  is  kindled  into  a  glow  by  its 
own  activity.  Hence  the  speaker  requires  more 
time  to  express,  and  the  audience  to  follow  the 
thought.  This  is  more  especially  the  case  with  the 
speaker  in  extempore  discourse ;  and  all  delivery 
should  be  precisely  as  if  the  whole  thought  were 
originated  and  elaborated  at  the  moment. 

5.  All  these  reasons  apply,  but  ivith  less  force,  to  the 
commencement  of  heads  and  topics. 

All  these  reasons  apply  not  only  to  speeches,  but 
also  to  the  general  and  subordinate  heads,  topics 
and  paragraphs,  only  with  diminishing  force,  in  the 
:>rder  in  which  these  divisions  are  here  enumerated 


Time  and  Pause.  35? 

Hence  the  slowest  time  of  all  is  required  at  the 
commencement  of  the  speech  ;  less  slow  time,  at  the 
commencement  of  a  general  head;  still  less,  ai 
that  of  a  subordinate  head ;  and  still  less,  at  that 
of  a  paragraph ;  but  all  these  beginnings  should 
be  delivered  more  slowly  than  the  subsequent 
parts. 

§  221.  Pause  in  speech  is  a  function  of  time. 

As  inflection  is  a  function  of  pitch  (§  189),  so 
pause  is  a  function  of  time.  For  it  is  obvious  that 
the  time  given  to  the  delivery  of  a  discourse,  or  of 
any  part  of  it,  will  be  greater  or  less,  and  the  move- 
ment more  or  less  rapid,  as  the  pauses,  or  intervals 
of  silence,  between  its  parts  are  longer  or  shorter. 
This,  moreover,  is  a  very  important  function.  For 
these  pauses  are  not  only  very  numerous,  inasmuch 
as  they  occur  between  all  the  parts  of  discourse 
(§  148 — 3),  except  syllables,  and  thus  occupy  a  con- 
siderable proportion  of  the  time;  but,  also,  very 
many  of  them  are  essential  to  clearness,  and  even  to 
intelligibility,  in  the  communication  of  thought,  am*, 
to  power  in  the  expression  of  sentiment. 

222.  The  three  functions  of  pause  are  the  grammatical,  tht 
rhythmical,  and  the  rhetorical. 

These  are  all  distinct  functions,  or,  as  they  may 
be  called,  different  varieties  of  pause  in  speech; 
and  they  contribute  in  different  ways  to  the  result 
of  power  in  delivery.     The  grammatical  pauses  are 


b54  The  Elements  of  Power. 

intended  to  symbolize  the  syntactical  relations  ol 
words  aul  clauses  in  sentences.  The  rhythmical 
pauses  contribute  a  principal  element  of  the  rhythm 
of  speech.  The  rhetorical  pauses  have  two  func- 
tions ;  first,  to  symbolize  the  relations  between  the 
rhetorical  divisions  of  the  discourse ;  and,  secondly, 
to  aid  in  giving  a  more  powerful  expression  to  the 
sentiments. 

§  223.  Grammatical  pauses  indicate  the  syntactical  relation 
of  words  and  clauses  in  sentences,  and  are  of  varying 
length  according  to  the  sentiments  expressed. 

This  rule  covers  the  ground  of  the  period  (.) 
colon  (:)  semicolon  (;)  comma  (,)  and  dash  ( — )  in 
punctuation.  But  the  speaker  or  reader  must  be 
on  his  guard  against  attempting  to  govern  his  pauses 
by  these  marks.  The  sense  of  the  words,  and  the 
character  of  the  sentiments,  are  his  only  reliable 
guides.  For  the  punctuation  marks  the  pauses, 
and  the  pauses  indicate  the  syntactical  relations, 
only  in  a  very  imperfect  and  defective  manner. 

1.  These  signs  and  pauses  symbolize  only  a  more  or 
less  close  relation. 

They  indicate  nothing  of  the  character  of  that  re- 
lation. Thus  the  period,  the  longest  pause,  indi- 
cates that  a  syntactical  structure  of  words,  or  a  sen- 
tence, is  completed.  The  colon,  the  next  in  length, 
indicates  the  most  remote  separation  which  can 
occur  between  the  different  parts  of  a  sentence. 
The  semicolon  marks  a  less  wide  separation,  and 
the  comma,  the  least  of  all  that  have  signs ;  whilst 


Time  and  Pause.  355 

the  dash  properly  signifies  that  the  particular  syn- 
tactical structure  with  which  the  sentence  began,  ia 
broken  off,  and  that  the  sentence  is  to  be  completed 
with  another  which  is  inconsistent  with  it.  Tt  ia 
used,  however,  for  other  purposes. 

2.  All  these  pauses  vary  in  length. 

The  causes  of  their  variations  are  the  greater  or 
less  rapidity  of  the  general  movement,  and  the 
character  of  the  sentiments  expressed.  Under  the 
influence  of  these  causes,  a  colon,  or  a  semicolon, 
or  even  a  comma,  may  represent  a  pause  longer 
than  a  period ;  whilst  a  dash  may  represent* a  pause 
of  any  length  whatsoever. 

3.  Pauses  are  constantly  required  that  are  not 
marked  in  punctuation. 

In  good  reading  and  speaking,  these  pauses  are 
constantly  occurring,  where  punctuation  marks 
would  be  wholly  out  of  place. 

The  foregoing  observations  may  serve  to  guard 
the  reader  or  speaker  against  undue  reliance  upon 
punctuation,  and  to  impress  upon  his  mind  the  prin- 
ciple, that  his  true  guides  are  the  sense  of  the 
words,  and  the  character  of  the  sentiments  to  be  ex- 
pressed. 

§  224.  Rhythmical  pauses,  in  connection  with  accent,  produce 
the  rhythm  of  speech. 

Ehythm  is  an  element  of  beauty,  consequently  oj 
power,  both  in  poetry  and  prose.  It  depends  upon 
the  distribution  of  accented  and  unaccented  syl- 
lables, and  of  brief  pauses.     It  is,  of  course,  niosf 


356  The  Elements  oi   Powek. 

conspicuous  in  poetry ;  in  which,  the  pauses  upon 
which  it  depends,  occur  most  frequently  in  or  near 
the  middle,  and  at  the  close  of  the  lines  or  verses. 
But  a  searching  analysis  of  good  reading  or  recita- 
tion of  poetry,  will  disclose  to  the  ear  a  great  num- 
ber of  minor  prosodial  or  rhythmical  pauses,  which 
are  essential  to  the  perfection  of  the  rhythm,  but 
which  cannot  be  subjected  to  any  fixed  or  certain 
metrical  laws.  The  rhythm  of  prose,  both  with  re- 
spect to  accent  and  pause,  is  essentially  free,  that 
is,  not  subject  to  any  invariable  rules;  it  is  gov- 
erned only  by  the  sense  and  the  sentiment  to  be  ex- 
pressed. The  following  are  examples  from  our 
greatest  master  both  of  poetical  and  prose  rhythm. 

Haste  thee,  nymph,  and  bring  with  the6 

Jest  and  youthful  jollity, 

Quips  and  cranks  and  wanton  wiles, 

Nods  and  becks  and  wreathed  smiles  ; 

Such  as  hang  on  Hebe's  cheek, 

And  love  to  live  in  dimple  sleek  ; 

Sport,  that  wrinkled  care  derides, 

And  Laughter,  holding  both  his  sides. 

Come,  and  trip  it  as  you  go, 

On  the  light,  fantastic  toe  ; 

And  in  thy  right  hand  lead  with  thee 

The  mountain  nymph,  sweet  Liberty. 

For  I  am  about  to  discourse  of  matters  neither  inconsiderable 
l  ;>r  common  ;  but  how  a  most  potent  king,  after  he  had  trampled 
upon  the  lafrs  of  the  nation,  and  given  a  shock  to  its  religion,  and 
begun  to  rule  at  his  own  will  and  pleasure,  was  at  last  subdued  in 
the  field  by  his  own  subjects,  who  had  undergone  a  long  slavery 
under  him  ;  how,  afterwards,  he  was  cast  into  prison  ;  and  when 
he  gave  no  ground,  either  by  words  or  actions,  to  hope  better 
things  of  him,  he  was  finally,  by  the  supreme  council  of  the  king- 
dom, condemned  to  die,  and  beheaded  before  the  very  gates  ol 
Lao  royal  palact;. 


Time  and  Pause  357 


(  225.  Rhetorical  pauses  indicate  the  relations  between  the 
rhetorical  divisions  of  the  discourse,  and  aid  in  the  ex- 
pression of  the  sentiments. 

These  two  functions,  or  varieties  of  the  rhetorical 
pause,  are  quite  distinct,  in  so  far,  at  least,  as  the 
former  symbolize  relations  of  thought,  and  the  lat- 
ter are  expressive  of  emotion  and  passion.  Both, 
however,  are  of  very  great  importance,  as  contribut- 
ing in  different  ways  to  the  result  of  power  in 
delivery. 

§  226.  General  heads  of  discourse  require  longer  pauses  be- 
tween them  than  subordinate  ones;  subordinate  heads, 
longer  than  paragraphs,  and  paragraphs  than  sentences. 

All  the  primary  and  subordinate  divisions  of  every 
discourse,  require  to  be  delivered  with  pauses  be- 
tween them ;  and  these  pauses  vary  in  length  ac- 
cording as  the  general  movement  is  more  or  less 
rapid,  and  as  the  parts  are  more  or  less  closely  con- 
nected with  each  other.  Their  importance  arises 
from  the  fact  that  they  signify  to  the  audience,  ac- 
cording to  their  different  lengths,  that  one  general 
or  subordinate  head,  or  one  paragraph,  or  sentence, 
is  concluded,  and  another  about  to  be  commenced. 
Thus  they  impart  discreteness  and  clearness  to  the 
speaking ;  and  enable  the  audience  to  comprehend 
and  follow  the  drift  and  progress  of  the  discourse. 
Hence  they  constitute  an  essential  element  of  intel- 
ligibility. Where  they  are  neglected,  and  the  several 
divisions  of  the  discourse  are  hurriedly  run  into  each 
other,  the  speaking  fails  in  clearness  and  intelligi- 


358  The  Elements  op  Power. 

bility,  and  makes  the  impression  upon  the  audience 
of  a  crude  and  confused  mass,  instead  of  an  organ- 
ized body  of  thought.  The  effect  is  similar  to  thai 
produced  upon  the  mind  of  the  reader  by  a  discourse 
written  or  printed  without  primary,  coordinate,  or 
subordinate  parts,  and  without  paragraphs  or  sen- 
tences. 

§227.  The  rhetorical  pause  is  expressive  of  overwhelming 
emotion. 

This  pause  is  in  place  when  either  the  emotions  oi 
the  speaker  have  become  uncontrollable,  or  those  of 
the  audience  have  been  worked  up  to  a  very  high  degree 
of  excitement.  The  attempt  to  introduce  it  without 
either  of  these  conditions,  must  result  incomplete  fail- 
ure, and  call  forth  only  ridicule.  But  when  rightly 
timed,  it  is  one  of  the  highest  forms  of  elocutionary 
art.  Accompanied  with  the  appropriate  expressions 
of  gesture  and  countenance,  its  effects  are  sometimes 
prodigious.  Whitefield  was  accustomed  to  resort  to 
it.  The  awful  silence  of  the  thousands  who  hung  upon 
his  oratory,  whose  very  breathing  seemed  suspended, 
produced  impressions  which  could  never  be  forgotten, 
and  which  were  vividly  remembered  long  after  the 
thought*  of  his  discourses  had  faded  from  the  mind. 
The  expressive  power  of  this  pause  is  due,  first,  to 
the  excited  state  of  the  feelings,  which  only  can  jus- 
tify it ;  secondly,  to  the  fact  that  it  gives  full  scope 
to  the  activity  of  the  imagination,  which  it  stimu- 
lates to  run  far  beyond  anything  that  can  be  ex- 
pressed in  words.     In  this  latter  respect,  it  is  analo 


Time  and  Pause.  359 

gous  bo  that  stroke  of  high  art  employed  by  ti\e  an- 
cient painter,  who,  in  order  to  represent  the  over- 
whelming grief  and  despair  of  Agamemnon  at  the 
sacrifice  of  his  daughter  Iphigenia,  at  Aulis,  por- 
trayed him  with  a  veil  over  his  face,  that  the  imagin- 
ation might  be  left  to  conceive  of  what  no  art  could 
depict. 

Such  a  pause  was  intended  by  Shakspeare  after 
the  following  words  of  Anthony;  although  it  may 
be  doubted  whether  Shakspeare  himself  has  TvA 
erred  in  giving  it  so  formal  an  announcement. 

My  heart  is  in  the  coffin  there  with  Caesar, 
And  I  must  pause  till  it  come  back  to  km. 


CHAPTER  X. 

FORCE. 

\  228,  Force  in  elocution  is  the  application  of  strength  oi 
yoice  in  different  degrees,  chiefly  for  purposes  of  ex- 
pression. 

We  have  already  treated  of  strength  as  one  of 
the  powers  of  the  voice  (§§176-179).  We  como 
now  to  treat  of  the  application  of  this  power  in  the 
expression  of  thought  and  feeling.  The  procedure 
here  is  analogous  to  the  application  of  the  other 
powers  of  the  voice,  compass  and  flexibility,  which 
has  been  made  under  the  head  of  pitch  and  inflec- 
tion (§§  188-213).  We  have  seen  also  how  force 
enters  as  an  element  of  accent  (§  127) ;  and  we  shall 
see  hereafter  how  it  constitutes  an  element  of  em- 
phasis. 

With  respect  to  the  application  of  force,  there  are 
two  general  rules  to  be  observed. 

$  229.  The  first  general  rule  is  that  in  the  rhetorical  divisions 
of  a  speech,  force  varies  as  the  time. 

The  parts  of  a  speech  which  require  to  be  rapidly 
delivered,  commonly  require  also  the  greater  de- 
grees, and  those  which  require  to  be  more  slowly 
delivered,  the  less  degrees  of  force.  According]) 
the  beginnings  of  speeches,  heads  and  paragraphs 
should  be  delivered  with  less  force  than  the  subse- 
quent parts.     A  distinction  is  also  to  be  observed 


Force.  3  (51 

between  these  parts.  For  the  commencement  of  a 
speech  should  be  delivered,  as  nearly  as  the  size  of 
the  audience  will  allow,  with  no  more  loudness  of 
voice  than  that  which  belongs  to  ordinary  conversa- 
tion. The  speaker  should  always  aim  to  make  the 
conversational  tones  his  point  of  departure.  A 
greater  degree  of  force  is  allowable  in  commencing 
the  general  heads ;  but  it  should  be  sensibly  less 
than  that  which  is  given  to  the  delivery  of  what  fol- 
lows under  these  heads.  And  still  greater  force 
may  be  given  to  the  commencement  of  subordinate 
divisions  and  paragraphs,  provided  the  speaker  be 
able  to  increase  it  yet  further  as  the  sentiment  rises. 
These  variations  are  absolutely  essential  to  the  ad- 
equate expression  of  the  distinctions  and  transitions 
of  thought.  If  they  be  neglected,  the  audience  will 
not  be  duly  informed  when  one  thought  is  ended 
and  another  commenced,  nor  of  the  relations  of  the 
different  thoughts  to  each  other. 

§  230.  The  second  general  rule  is  that  in  the  expression  of 
sentiment,  force  varies  as  pitch  and  inflection. 

Those  sentiments  which  require  the  higher  ranges 
of  pitch,  and  the  greater  inflections,  require  also  for 
their  adequate  expression,  the  greater  degrees  oi 
force  or  loudness  of  sound.  Thus  strong  emotions 
of  anger,  grief,  scorn,  joy,  hope,  fear,  and  the  like, 
commonly  express  themselves  in  loud  sounds.  Some- 
times, however,  the  force  of  the  feeling  may  choke 
the  voice ;  at  other  times,  the  most  intense  passion, 
under  the  control  of  a  strong  will,  expresses  itself  in 
low  tones,  and  with  the  utmost  deliberation  and 


362  The  Elements  of  Power. 

quietness.  On  the  other  har.d,  those  sentimenta 
which  require  the  lower  ranges  of  pitch,  and  less 
extended  inflections,  commonly  require  also  less 
stress  of  voice.  Thus  calm  or  subdued  emotions  of 
grief,  sorrow,  pity,  love,  hope,  joy,  and  the  like,  ex- 
press themselves  in  soft  or  subdued  tones ;  whilst 
animated  expressions  of  certainty,  positiveness  and 
determination,  range  through  louder  sounds. 

The  relation  of  force  to  the  expression  of  senti- 
ment, is  touched  by  Dr.  Rush  as  follows. 

"  Secrecy  muffles  the  voice  against  discovery ; 
and  doubt,  whilst  it  leans  towards  a  positive  declar- 
ation, cunningly  prepares  the  subterfuge  of  an  un- 
dertone, that  the  impression  of  its  possible  error 
may  be  least  exciting  and  durable.  Certainty,  on 
the  other  hand,  in  the  full  desire  to  be  heard  dis- 
tinctly, assumes  all  the  impressiveness  of  strength. 
Anger,  in  like  manner,  uses  force  of  voice,  because 
its  charges  and  denials  are  made  with  a  wide  appeal, 
and  in  the  sincerity  of  passion ;  and  ....  the  same 
mode  is  employed  in  uttering  those  feelings  which 
are  blended  with  anger,  such  as  hate,  ferocity  and 
revenge.  All  those  sentiments  which  are  unbecom- 
ing or  disgraceful,  smother  the  voice  to  its  softer 
degrees,  in  the  desire  to  conceal  even  the  voluntary 
utterance  of  them.  Joy  is  loud  in  calling  for  com- 
panionship, through  the  overflowing  charity  of  its 
satisfaction.  Bodily  pain,  fear  and  terror  are  also 
strong  in  their  expression ;  with  the  double  inten- 
tion of  summoning  relief,  and  repelling  the  offending 
cause,  when  it  is  a  sentient  being.  For  the  sharp- 
uess  and  vehemence  of  the  full-strained  cry,  art*  uui 
versally  painful  or  appalling  to  the  animal  ear." 


Fobce.  363 

\  231.  The  different  kinds  of  stress  of  voice  express  differ- 
ent classes  of  sentiments  and  emotions. 

There  are  several  varieties  of  force  or  stress  of 
voice,  wliieh  are  distinguishable  from  each  other  by 
their  falling  respectively  upon  different  parts  of  the 
sound,  and  which  are  expressive  of  different  varie- 
ties of  sentiments  and  emotions. 

1.  The  radical  stress  falls  on  the  beginning  of  the 
sound,  and  is  appropriate  to  the  expression  of  lively 
and  startling  sentiments,  and  strong  passions. 

This  mode  of  stress  consists  in  an  abrupt  or  ex- 
plosive utterance  of  the  voice  on  the  initial  part  of 
the  sound,  the  latter  part  being  allowed  gradually 
to  die  away.  It  is  exemplilied  in  the  pronunciation 
of  the  words,  go  away !  as  expressive  of  strong  aver- 
sion ;  in  which  the  sounds  of  o  in  go,  and  ay  in  way, 
commence  with  explosive  force,  and  decline  in  loud- 
ness until  they  cease.  It  is  much  used  in  the  ex- 
pression of  unrestrained  and  lively  passions  and 
emotions,  in  startling  thoughts,  and  in  animated, 
earnest  and  stirring  sentiments ;  as,  also,  in  confi- 
dent and  earnest  argumentative  discourse.  Too 
much  of  it  indicates  too  much  self-confidence.  The 
want  of  it  denotes  the  absence  of  sharp  and  vigor- 
ous thought.  It  has  been  called  "  the  salt  and  relish 
of  oral  communication,  inasmuch  as  it  preserves  its 
pungency,  or  penetrating  effect."  It  is  properly 
heard  in  almost  every  word  of  the  following  ex 
ample. 

He  woke  to  hear  his  sentry  shriek, 

To  arms!  they  come  !  the  Greek  !  the  Gre*k  I 


364  The  Elements  of  Poweb. 

He  woke  to  die  midst  flame  and  smoke, 
And  shout  and  groan  and  sabre  stroke, 
And  death  shots  falling  thick  and  feat 
As  lightnings  from  the  mountain  cloud ; 
And  heard,  with  voice  as  thunder  loud, 
Bozzaris  cheer  his  band  : 
"Strike,  till  the  last  armed  foe  expiree  ; 
•'Strike,  for  your  altars  and  your  fires ; 
"God,  and  your  native  land." 

2.  The  median  stress  swells  out  on  the  middle  of  tKt 
sound,  and  is  appropriate  to  the  expression  of  grave, 
solemn,  sad  and  elevated  sentiments;  also,  of  sublimity, 
admiration,  authority,  and  the  like. 

This  mode  of  stress,  as  defined  above,  gives  a 
swell  to  the  middle  of  the  sound,  as  in  the  common 
pronunciation  of  the  word,  grave.  It  has  nothing  in 
it  of  an  abrupt  or  explosive  character.  It  is  adapt- 
ed to  the  expression  of  grave,  elevated,  sublime,  sad 
and  solemn  sentiments;  of  admiration,  pure  and 
serene  joy,  and  of  unquestioned  authority  and 
power.  It  is  peculiarly  expressive  in  the  melody  of 
such  poetry  as  is  not  characterized  by  intense  pas- 
sion ;  and,  also,  in  the  reading  of  the  less  impas- 
sioned portions  of  Scripture.  The  following  are  ex- 
amples. 

Hail,  holy  light !    Offspring  of  Heaven  first-born, 

Or  of  the  eternal,  co-eternal  beam, 

May  I  express  thee  unblamed  ?  since  God  is  light  ■ 

And  never  but  in  unapproached  light 

Dwelt  from  eternity  ;  dwelt  then  in  thee, 

Bright  effluence  of  bright  essence  increate. 

TLen  said  Jesus  unto  his  disciples,  If  any  man  will  come  aftei 
cae,  let  him  deny  himself,  and  take  up  his  cross,  and  follow  me 
For  whosoever  will  save  his  life,  shall  lose  it :  and  whosoerer  will 


Force.  366 

lose  his  life  for  my  sake,  shall  find  it.  For  wh.%t  is  a  man  pro- 
fited, if  he  shall  gain  the  whole  world,  and  lose  his  own  soul  ?  Oi 
what  shall  a  man  give  in  exchange  for  his  soul  • 

3.  Tlie  vanishing  stress  falls  on  iJie  last  part  of  tht 
*ound,  and  is  expressive, for  the  most  part,  of  vkleni 
and  evil  passions. 

This  mode  of  stress  makes  the  sound  loudest  at  01 
near  its  close,  as  in  the  expression,  I  won't,  uttered 
in  passion.  It  is  mostly  expressive  of  the  evil  pas- 
sions, or  those  which  are  evil  by  excess,  such  as  im- 
patience, contempt,  scorn,  obstinacy,  malignity,  an- 
ger, wrath,  malice,  and  all  uncharitableness.  It  is 
not,  however,  limited  to  these,  but  is  often  required 
by  the  utmost  violence  of  other  passions.  The  fol- 
lowing is  an  example. 

Now  bind  my  brows  with  iron  ;  and  approach 
The  raggedest  hour  that  time  and  spite  dare  bring, 
To  frown  upon  the  enraged  Northumberland. 
Let  heaven  kiss  earth ;  now  let  not  nature's  hand 
Keep  the  wild  flood  confined ;  let  order  die  ; 
And  let  this  world  no  longer  be  a  stage 
To  feed  contention  in  a  lingering  act ; 
But  let  one  spirit  of  the  first-born  Cain, 
Reign  in  all  bosoms  ;  that,  each  heart  being  set 
On  bloody  courses,  the  rude  scene  may  end, 
And  darkness  be  the  burier  of  the  dead. 

4,  Thorough  stress  faU&  upon  the  whole  sound,  and 
is  expressive  of  deep  and  lofty,  and,  for  the  most  port, 
cf  jovful  emotions. 

In  this  mode  of  stress,  the  whole  sound  is  filled 
out,  so  to  speak,  and  sustained,  as  in  the  word,  friend, 
pronounced  with  deep  emotion.  It  is  appropriate 
to  the  expression  of  great  joy,  rapture,  triumph,  ex- 
ultation, patriotism,  and  the  like      It  may  be  em* 


$86  The  Elements  of  Power. 

ployed  also  with  good  effect  in  the  expression  oi 
lofty  indignation  and  disdain. 

These  are  thy  glorious  works,  Parent  of  good, 

Almighty  ;  tiiine  this  universal  frame, 

Thus  wondrous  fair  ;  thyself  how  wondrous  then  1 

Unspeakable,  who  sitst  above  the  heavens, 

To  us  invisible,  or  dimly  seen 

In  these  thy  lowest  works  ;  yet  these  declare 

Thy  goodness  beyond  thought,  and  power  divine. 


4  2$2.  The  most  common  faults,  in  respect  of  force,  are  too 
much  and  too  little,  and  the  indiscriminate  use  of  it. 

All  of  these  faults  are  very  common,  and  any  one 
of  them  is  fatal  to  genuine  power  in  delivery. 

1.  In  general,  the  speaking  sJwidd  be  only  loud  enough 
to  be  distinctly  and  easily  heard. 

Whenever  the  speaker  goes  beyond  this,  he  should 
be  very  sure  that  increased  force  is  necessary  to  the 
adequate  expression  of  the  sentiment.  For  speak- 
ing too  loud  throughout  the  body  of  the  discourse, 
is  often  due  to  *  a  plentiful  lack  "  of  ideas.  Speak- 
ers who  are  deficient  in  this  respect,  unconsciously 
try  to  compensate  for  their  want  by  an  increase  of 
noise,  mere  "sound  and  fury,  signifying  nothing." 
But  rant  is  a  poor  substitute  for  thought.  It  is, 
moreover,  a  vulgar  fault,  most  common  with  speak* 
ers  who  are  destitute  of  culture  and  refinement. 

2.  SpeoMng  which  is  not  hud  enough,  fails  in  ex- 
pression,  and  distresses  the  audience. 

This  fault  is,  of  course,  frequently  due  to  feeble- 
ness o*  voice,  the  remedy  for  which  must  be  sought 
in  vocal  culture  (§  179).     But  this  is  not  the  onty 


Force.  367 

cause ;  for  it  is  not  at  all  uncommon  in  men  who 
have  voice  enough,  but  who  seem  to  think  it  is  ill- 
bred  to  speak  loud,  even  where  the  sentiment  mosi 
requires  it.  Such  "  playing  proper  w  is  utterly  incon- 
sistent with  true  oratory.  For  when  the  speaking  is 
not  loud  enough  to  be  distinctly  and  easily  heard 
by  the  whole  audience,  much  of  what  is  said  is  lost 
to  a  portion  of  them,  and  all  are  distressed  by  their 
oral  efforts,  so  that  they  soon  cease  to  give  their  at- 
tention. The  feebleness  of  sound  also  expresses 
feebleness  of  thought.  Consequently,  when  the 
thought  is  good  in  itself,  it  is  inadequately  expressed, 
and  fails  of  its  proper  effect,  whilst  those  sentiments 
which  require  peculiar  energy  in  the  delivery,  are 
simply  caricatured. 

3.   The  indiscriminate  employment  of  force  is  the  op 
posite  of  true  expression. 

Not  unfrequently  stress  of  voice  is  inappropriately 
distributed.  The  speaker  seems  to  feel  that  some 
parts  of  his  discourse  ought  to  be  delivered  in  loud, 
and  others  in  soft  tones ;  but  he  fails  to  increase 
and  diminish  the  sound  in  the  proper  places.  Sen- 
timents which  require  the  greatest,  he  delivers  with 
the  least  force ;  and  words  which  require  only  to  be 
heard  and  understood,  he  bellows  out,  as  if  he  were 
crying,  Fire  I  Fire  !  The  delivery  thus  becomes  the 
opposite  of  true  expression.  Frequently  also  this  in- 
discriminate use  of  force  takes  place  on  correspond- 
ing parts  of  the  same  sentence ;  which  results  in  a 
painful  monotony  of  increasing  and  dinrmislaing 
sounds. 


CHAPTER  XL 


EMPH1SIS. 


§  233.  Emphasis  is  the  giving  of  relative  vocal  prominence  to 
particular  words  or  phrases  for  purposes  of  expression. 

The  word  is  pure  Greek,  derived  from  the  verb 
empliaino,  to  show,  which,  in  its  rhetorical  applica- 
tions, signifies  to  express  in  a  vivid,  or  forcible  man- 
ner. Hence  expression  is  the  characteristic  func- 
tion of  emphasis,  by  which  in  part  it  is  distin- 
guished from  accent,  which,  exceptional  cases 
(§  130 — 2)  apart,  has  little  to  do  with  expression. 
It  is  further  distinguished  from  accent  in  that  it 
gives  prominence  to  whole  words  and  phrases, 
whilst  accent  affects  only  particular  syllables.  Yet 
it  is  to  be  borne  in  mind  that  emphasis  itself  falls 
chiefly,  though  not  exclusively,  on  the  accented  syl- 
lables, except  in  the  case  of  monosyllabic  words, 
which  commonly  take  no  accent  (§  133). 

All  emphasis  is  relative ;  that  is  to  say,  the  degree 
of  prominence  which  is  to  be  given  to  words  oi 
phrases,  is  to  be  determined  by  the  connection  in 
which  they  stand,  and  by  the  occasion  or  circum- 
stances of  the  delivery.  Where  the  whole  passage 
is  of  a  more  or  less  emphatic  character,  the  em 


Emphasis. 


pliatic  words  require  greater  or  less  prominence, 
Tho  highly  wrought  emphasis  of  impassioned  ora- 
tory, would  be  wholly  out  of  place  in  a  parlor  read- 
ing of  the  same  speech ;  and  in  large  audiences,  a 
much  stronger  emphasis  is  in  place,  than  in  small. 
Propriety  requires  this  relative  character  of  empha- 
sis to  be  carefully  observed. 


§  234.  The  principal  elements  of  emphasis  are   force  and 
quality  of  voice,  time,  pitch  and  inflection. 

A_ny  two  or  more,  and,  indeed,  all  of  these  elements 
may  be  combined  in  the  emphasis  of  a  single  word  ; 
in  fact,  the  requisite  prominence  and  significance  can 
seldom  be  given  to  an  emphatic  word  by  any  one  ol 
them.  When  used  in  combination,  however,  it  will 
commonly  be  found  that  some  one  of  them  predomi- 
nates over  the  others,  and  gives  a  distinctive  char- 
acter to  the  emphasis.  It  is  of  great  importance  to 
recognize  and  master  all  these  elements  of  this 
mode  of  expression,  because  many  speakers  seem  to 
think  that  there  is  no  other  way  of  emphasizing  a 
word  than  by  increased  stress  of  voice.  They  sim- 
ply pronounce  every  emphatic  word  louder  than  the 
others,  with  little  or  no  other  variation ;  the  result 
of  which  is  a  tame  and  heavy  thump,  thump,  in 
their  delivery,  which  soon  ceases  to  have  any  of  the 
effect  of  emphasis,  or  expression,  and  becomes  insuf- 
ferably monotonous  and  wearisome  to  the  audience 


S7C  The  Elements  or  Power. 

§  235.  The  emphasis  of  stress  gives  prominence  to  the  won 
or  phrase  by  increasing  the  loudness  of  the  sound. 

This  is  the  most  obvious  and  easy  way  of  empha- 
sizing, and  therefore  the  most  common,  even  wher 
it  is  altogether  inappropriate.  Hence  it  is  necessary 
to  guard  against  the  too  frequent  use  of  it.  The 
increase  of  force,  in  this  kind  of  emphasis,  may  be 
any  one  of  the  various  modes  of  radical,  median, 
vanishing,  or  thorough  stress;  the  different  senti- 
ments appropriate  to  each  of  which  have  been  given 
in  §  231.  When  judiciously  employed,  especially 
with  due  reference  to  these  several  modes,  this  form 
of  emphasis  is  very  significant  and  expressive. 

$  236.   The  emphasis  of  quality  distinguishes  the  word  or 
phrase  by  some  peculiar  quality  of  voice. 

The  qualities  of  voice,  their  importance  in  ex- 
pression, and  the  means  of  acquiring  the  com- 
mand of  them,  have  been  treated  of  in  §§  167—174 
There  are  several  of  these  qualities,  however,  which 
are  specially  available  for  expression  by  emphasis, 
and  which  admit  of  being  used  separately,  or  in 
combination  with  each  other;  such  as  the  follow- 
ing. 

1.  The  guttural  emphasis  is  mostly  expressive  of  tla. 
evil  passions,  repressed  for  Uie  moment  by  a  strong  effort 
of  will. 

This  quality  of  voice  depends  essentially  upou 
pitch,  inasmuch  as  it  is  produced  by  the  fewesf 
vibrations  of  the  vocal  chords,  and  the  resonance 


Emphasis.  371 

takes  place  deep  in  the  guttur  or  wirdpipe,  whilsi 
this  organ  is  contracted  so  as  to  interrupt  the  ever 
flow  of  the  sound,  and  render  it  impure.  It  is  ex- 
emplified in  the  angry  growl  or  snarl  of  a  dog.  It 
is  expressive  of  pent-up  or  smothered  rage,  con- 
tempt, loathing,  and  similar  feelings ;  but,  especially, 
of  a  deep,  vindictive  determination  to  wreak  the 
malignant  feeling  upon  its  object  at  some  future 
time,  since  the  present  does  not  afford  the  desired 
opportunity.  "The  deep,  laboring,  guttural  enun- 
ciation seems  to  suggest  a  smothered,  pent-up,  but 
heaving  emotion,  just  ready  to  burst  out,  without 
restraint  or  control ;"  as  in  the  following  example. 

Desdemona.  Alas  !  what  ignorant  sin  have  I  committed  ? 

Othello.         Was  this  fair  paper,  this  most  goodly  book, 

Made  to  write  whore  upon?     What  commuted? 
Committed  I    O  thou  public  commoner  ! 
I  should  make  very  forges  of  thy  cheeks, 
That  would  to  cinders  burn  up  modesty, 
Did  I  but  speak  thy  deeds.     What  committed  ! 
Heaven  stops  the  nose  at  it,  and  the  moon  winks. 
The  bawdy  wind  that  kisses  aU  it  meets, 
Is  hushed  within  the  hollow  mine  of  earth, 
And  will  not  hear  it.     What  committed  ! 
Impudent  strumpet  I 

2.  The  aspirated  emphasis  is  expressive  offe^r.  ter- 
ror, horror,  amazement,  and  of  intense  earnestness. 

This  quality  of  voice  is  produced  by  the  violent 
expulsion  of  a  greater  quantity  of  breath  than  can  be 
vocalized,  seeming  to  overpower  and  confuse  the 
delicate  vocalizing  organs.  Hence  it  requires  a 
strong  action  of  the  organs  which  expel  'he  breath. 
The  whisper,  without   emphasis,  is  expressive  o/ 


372  The  Elements  of  Power. 

secrecy  or  concealment ;  but  the  emphatic  use  Oj 
the  aspirated  quality  of  voice,  expresses  great  -vio- 
lence of  the  passions.  It  is  also  significant  oi 
intense  earnestness,  from  the  fact  that  it  intensifies 
the  action  of  the  articulating  organs,  in  order  to 
compensate  for  the  want  of  the  oral  qualities  oi 
pure  tone.  This  form  of  emphasis  is  frequent  in 
the  following  example. 

Have  mercy,  Jesu  I — Soft,  I  did  but  dream. 
O  coward  conscience,  how  dost  thou  afflict  me  ! 
The  ligMs  burn  blue — It  is  now  dead  midnight 
Cold,  fearful  drops  stand  on  my  trembling  flesh. . . . 
My  consciejice  hath  a  thousand  several  tongues  ; 
And  every  tongue  brings  in  a  several,  tale  ; 
And  every  tale  condemns  me  for  a  villain. 
Perjury,  perjury,  in  the  high'st  degree, 
Murder,  stern  murder,  in  the  dir'sl  degree, 
Throng  to  the  bar,  crying  all,  Ouilty  !  guilty  !  . . . . 
Methought  the  souls  of  all  that  I  had  murdered, 
Came  to  my  tent ;  and  every  one  did  threat 
To-morrow's  vengeance  on  the  head  of  Richard. 

3.  Tlie  emphasis  of  tremor  expresses  pity,  grief  \  sor* 
row }  desire,  hope,  joy,  and  kindred  emotions. 

This  quality  is  produced  by  alternately,  in  rapid 
succession,  withholding  and  expelling  the  sound.  It 
is  easily  acquired,  and  sometimes  becomes  habitual, 
so  that  almost  every  emphasis  is  given  with  a 
tremor ;  which  is  a  great  fault,  being  significant  of  a 
want  of  force,  and  command  over  the  organs.  It  is 
often  heard  in  prayer.  When  properly  introduce^ 
which  should  be  sparingly,  this  mode  of  emphasis 
is  -very  expressive.  It  may  be  employed  with  good 
effect  r»n  the  italicized  words  in  the  following  pas- 


Emphasis.  37S 

farewell,  a  long  farewell  to  all  my  greatness. 
Ihis  is  the  state  of  man  :  to-day  lie  puts  forth 
The  tender  leaves  of  hope  ;  to-morrow  bloskims, 
And  bears  his  blushing  honors  thick  upon  him  ; 
The  third  day  comes  a  frost,  a  killing  frost : 
And  when  he  thinks,  good  easy  man,  full  surely 
His  greatness  is  a  ripening,  nips  his  root; 
And  then  he  falls  as  I  do. 


$237.  The  temporal  emphasis  distinguishes  the  word  01 
phrase  either  by  prolonging  the  sound,  or  by  a  pause  be- 
fore or  after  it. 

There  are  thus  two  modes  of  this  emphasis,  the 
former  of  which  may  be  characterized  as  the  tem- 
poral emphasis  proper,  and  the  latter,  as  the  emphatic 
pause.  These  require  to  be  treated  separately,  for 
this  reason  among  others,  that  the  latter  is  appro- 
priate to  a  much  wider  class  of  sentiments  than  the 
former. 

1.  The  temporal  emphasis  proper,  dwells  on  the 
sound,  and  is  appropriate  to  those  sentiments  which  re- 
quire slow  or  moderate  time  (§§  215 — 217). 

This  mode  of  emphasis  is,  as  it  were,  the  ground 
or  condition  of  several  others ;  for  the  emphasis  of 
stress,  quality  and  inflection,  all  require  an  increase 
of  time  in  order  to  their  full  effect.  This  increase 
falls,  of  course,  on  those  elements  of  the  sound 
which  are  capable  of  indefinite  prolongation ;  that 
is,  upon  the  tonics  and  subtonics,  except,  in  this  lat- 
ter class,  the  subnasals  (§  111).  The  fullest  form  o\ 
this  mode  of  emphasis,  is  appropriate  to  the  expres- 
sion of  elevated,  sublime,  solemn  and  sorrowful 
sentiments ;  in  a  less  full  form,  to  such  as  are  of  a 


371  The  Elements  ov  Power. 

grave,  serious  and  moderate  character.  It  is  a  irerj 
common  and  a  very  damaging  fault,  to  load  the 
delivery  with  this  mode  of  emphasis,  which  renders 
it  drawling  and  heavy,  and  awakens  disgust  in  the 
audience.  The  increase  of  time  on  some  of  the 
emphatic  words  of  the  following  sonnet,  will  rea- 
dily be  perceived. 

When  I  consider  how  my  light  is  spent 
Ere  half  my  days,  in  this  dark  world  and  wide  / 
And  that  one  talent,  which  is  death  to  hide, 
Lodg'd  in  me  useless,  though  my  soul  more  bent 
To  serve  therewith  my  Maker,  and  present 
My  true  account,  lest  he  returning  chide — 
Doth  God  expect  day-labor,  light  denied  ? 
I  fondly  ask  :  but  Patience,  to  prevent 
That  murmur,  soon  replies,  God  doth  not  need 
Either  man's  work,  or  his  own  gifts  ;  who  best 
Bear  his  mild  yoke,  they  serve  him  best ;  his  state 
Is  kingly ;  thousands  at  his  bidding  speed, 
And  post  o'er  land  and  ocean  without  rest ; 
They  also  serve  who  only  stand  and  wait 

2.  The  emphatic  pause  is  appropriate  to  almost  all 
kinds  of  sentiments,  and  may  he  introduced  either  be- 
fore or  after  the  emphatic  word  or  phrase. 

This  form  of  emphasis  differs  from  the  rhetorical 
pause  (§  227),  inasmuch  as  that  is  expressive  of  over- 
whelming emotion,  and  has  reference  to  the  senti- 
ment of  the  whole  passage  ;  whilst  this  is  intended 
to  give  effect  to  some  particular  word  or  phrase,  and 
is  appropriate  to  all  kinds  and  degrees  of  feeling. 
It  frequently  occurs  where  both  syntax  and  prosody 
would  seem  to  forbid  it.  In  fact,  it  overrules  the 
connections  of  syntax  (and  equally  the  rules  oi 
prosody)  to  such  a  degree  that  it  is  often  requireo 


Emphasis.  375 

between  words  in  the  closest  regimen ;  as  between 
the  verb  and  its  subject  and  object,  the  noun  and  its 
adjective,  the  adverb  and  that  which  it  qualifies. 
In  the  following  examples,  the  emphatic  pause  ifl 
marked  with  a  dash. 

Ye  know  too  well 
The  story  of  our  thraldom  ;  we  are— stoves. 
The  bright  sun  rises  to  his  course,  and  lights — 
A  race  of  slaves  ;  he  sets,  and  his  last  beam 
Falls — on  a  slave. 

He  said,  then  full  before  their  sight 
Produced  the  beast,  and  lo ! twas  white. 

Henceforth  I  call  you  not  servants,  for  the  servant  knoweth  not 

what  his  lord  doeth ;  but  I  have  called  you -friends}  for  all 

things  that  I  have  heard  of  my.  father,  I  have  made  known  unto 
you. 

"  Traitor  I"  —I  go— but  I  return.     This  trial— 
Here  I  devote—  your  senate. . . . 

Look  to  your  hearths,  my  lords; 
For  there  henceforth  shall  sit,  for  household  gods, 
Shapes  —hot  from  Tartarus. 


$  238.  The  emphasis  of  pitch  distinguishes  the  word  oi 
phrase  either  by  a  discrete  or  a  concrete  change  of  pitch. 

Here  again  are  two  very  different  modes  of  em- 
phasis, yet  both  depending  upon  changes  of  pitch. 
These  are  properly  characterized  by  Prof.  Day,  ac- 
cording as  the  change  of  pitch  is  either  a  skip  or  a 
slide  (§  189),  as  discrete  and  concrete  emphasis.  In 
both,  it  is  to  be  observed,  only  the  greater  changes 
can  be  made  available  for  effective  emphasis  ;  and 
the  streDgth  of  the  emphasis  varies  as  the  se  change? 


376  The  Elements  of  Power. 

are  greater  or  less ;  that  is,  the  fifth  is  stronger  than 
the  third,  and  the  octave  than  the  fifth. 

1.  The  discrete  emphasis,  according  as  the  ship  u 
upwards  or  downwards,  is  appropriate  to  the  sentiments 
which  require  a  high,  or  a  low  pitch. 

The  emphasis  of  the  upward  skip  is  mostly  appro- 
priate to  light,  gaj,  ironical  and  scornful  senti- 
ments; also,  to  doubt,  uncertainty,  hesitation  and 
surprise ;  and  often  it  is  expressive  of  violent  pas- 
sion, and  intense  anguish.  That  of  the  downward 
skip  is  more  appropriate  to  grave,  solemn  and  indig- 
nant sentiments ;  also,  to  fixedness  of  purpose,  or 
settled  determination;  and  sometimes  to  violent, 
but  restrained  passion.  Both  of  these  modes,  how- 
ever, not  unfrequently  occur  in  the  same  sentence, 
especially  where  one  branch  is  opposed  to,  or  con- 
trasted with  the  other.  In  the  following  example, 
some  of  the  upward  skips  are  marked  in  italics,  the 
downward,  in  small  capitals;  but  their  different 
degrees  are  not  marked. 

Brutus.  If  there  be  any  in  this  assembly — any  dear  friend  oi 
Cesar's  to  him  I  say,  that  Brntns'  love  to  Cesar  was  no  less  than 
his.  If  then  that  friend  demand,  why  Brutus  rose  against  Cesar, 
this  is  my  answer :  Not  that  I  loved  Cesar  less,  but  that  I  loved 
Rome  more.  Had  you  rather  Cesar  were  living,  and  die  ah 
slaves ;  or  that  Cesar  were  dead,  and  live  all  fbeemen  ?  As  Cesai 
loved  me,  I  weep  for  him  ;  as  he  was  fortunate,  I  rejoice  at  it ;  as 
ha  was  valiant,  I  honor  him;  but  a3  he  was  ambitious,  I  slew  him 
Their  is  tears  for  his  love,  joy  for  his  fortune,  honor  for  his  valor, 
and  death  for  his  ambition.  Who  is  here  so  base  that  would  trt 
a  bondman?  If  any,  speak;  for  htm  have  I  offended.  Who  is 
here  so  rude  that  would  not  be  a  Roman  ?  If  any,  speak  ;  for  him 
hav6  I  offended.    Who  is  here  so  vile  that  would  not  love  Id* 


Emphasis.  377 

country?  If  any,  speak;  for  him  have  I  offended.  I  pause  for  a 
reply.  .  .  . 

Citizen.     None,  Brutus,  none. 

Brutus.  Then  none  have  I  offended.  I  have  done  no  more  to 
Cesar  than  you  shall  do  to  Brutus.  .  .  .  With  this  I  depart;  that 
as  I  slew  my  best  lover  for  the  good  of  Rome,  I  have  the  same 
dagger  for  myself,  when  it  shall  please  my  country  to  need  my 
death. 

2.  The  concrete  emphasis  is  expressive  of  various 
sentiments,  as  determined  in  §§  201—211. 

The  various  powers  of  expression  which  belong* 
to  the  upward  and  downward  inflections,  have  been 
sufficiently  explained  in  the  sections  referred  to 
above ;  in  which,  we  have  seen  also  that  the  princi- 
pal of  these  inflections  always  fall  on  the  emphatic 
words.  Here  then  a  single  example  must  suffice ; 
as  before,  the  upward  slides  being  marked  in  italics, 
and  the  downward,  in  small  capitals. 

Brutus.   Let  me  tell  you,  Cassius,  you  yourself 

Are  much  condemned  to  have  an  itching  palm, 
To  sell  and  mart  your  offices  for  gold 
To  undeservers. 

Cassius.  I  an  itching  palm  ? 

You  know  that  you  are  Brutus  that  speak  this,. 
Or,  by  the  gods,  this  speech  were  else  you  last. 

Brutus.    The  name  of  Cassius  honors  this  corruption, 

And  chastisement  doth  therefore  hide  his  head. 

Cassius.  CJiastisement  ? 

Brutus.   Kemember  March,  the  ddes  of  March  remember. 
Did  not  great  Julius  bleed  for  justice  sake? 
What  villain  touched  his  body,  that  did  stab, 
And  not  for  justice  ?     What !  shall  one  of  us, 
That  struck  the  foremost  man  of  all  this  world, 
But  for  supporting  robbers — shall  we  now 
Contaminate  our  fingers  with  base  bribes, 
And  sell  the  mighty  space  of  our  large  honors 
For  sc  much  trash  as  may  be  grasped  thus  ? 


378  The  Elements  of  Poweb. 

I  had  rather  he  a  dog,  and  bay  the  moon, 

Than  such  a  Roman.  .  .  . 
Cussius.  Urge  me  no  more ;  I  shall  forget  myself. 

Have  mind  upon  your  health;  tempt  me  no  further. 
Brutus.   Away!  slight  man! 

JkntUB.  Is't  POSSIBLE  ? 

Brutus.  Hear  me,  for  I  will  speak. 

Must  I  give  way  and  room  to  your  rash  choler  ? 
Shall  I  be  frightened  when  a  madman  stares  ? 

Cassius.  O  ye  gods !  ye  gods !  must  I  endure  all  this  ? 

Brutus.   All  this  ?    Ay,  mobe.    Fret  till  your  proud  heart  bbeak 
Go  show  your  slaves  how  choleric  you  are, 
And  make  your  bondmen  tremble.     Must  I  budge  ? 
Must  I  observe  you  ?    Must  I  stand  and  crouch 
Under  your  testy  humor?    By  the  gods, 
You  shall  digest  the  venom  of  your  spleen, 
Though  it  do  split  you. 


§  239.  The  distribution  of  the  emphasis  is  governed  by  the 
meaning  to  be  expressed,  whether  emotion  or  thought. 

The  right  distribution  of  the  emphasis  is  essential, 
both  to  render  the  thought  intelligible,  and  to  ex- 
press the  emotion  or  passion  which  the  thought  is 
intended  or  adapted  to  excite.  Emphasis,  in  fact, 
is  a  substantive  element  of  language  itself,  since  by 
varying  it  the  meaning  of  any  combination  of  words 
may  be  wholly  changed  ;  whilst  a  wrong  emphasis, 
not  only  fails  of  expression,  but  also  caricatures  or 
travesties  the  sense.  The  following,  with  a  strong 
emphasis  on  the  word,  him,  is  an  example  of  such 
travesty. 

And  he  said  to  his  sons,  Saddle  me  the  ass;  so  they  saddled 
him. 

Here  the  emphasis  places  the  saddle  upon  the 
prophet,  instead  of  upon  the 


Emphasis.  379 

Again:  let  the  following  question  be  repeated 
often  enough  to  place  the  emphasis  on  every  word 
successively,  and  in  each  case,  it  expresses  a  differ- 
ent sense. 

Do  you  ride  to  town  to-day? 
Do  you  ride  to  town  to-day  ? 
Do  you  rule  to  town  to-day  ? 
Do  you  ride  to  town  to-day? 
Do  you  ride  to  town  to-day  ? 

The  regimen  of  the  emphasis  varies  somewhat 
according  as  it  is  expressive  of  emotion,  or  of  the 
relations  of  thought,  but  only  the  most  general  rules 
are  available  here  ;  and  these  rules  constantly  affect 
and  modify  each  other.  The  only  way  a  speaker 
can  be  sure  of  his  emphasis,  is  the  perfect  mastery 
of  the  thought  in  its  grammatical  and  rhetorical  rela- 
tions, and  by  the  feeling  of  the  emotions  to  be  ex- 
pressed. 


§  240.  The  emphasis  of  emotion  falls  on  the  word  or  phrase 
which  is  the  most  significant  of  emotion. 

Under  this  rule,  interjections,  exclamations,  abrupt 
find  excited  interrogations,  and  the  like,  require  the 
emphasis.  But  the  rule  implies,  of  course,  a  careful 
study  of  the  words  to  determine  which  of  them  fire 
the  most  significant  of  emotion  or  passion. 

King  Richard.  Is  thy  name  Tyrrel  ? 

Tyrrel.  James  Tyrrel,  and  your  most  obedient  subjeot 

K.  R.    Art  thou  indeed  t 

Tyr.  Prove  me,  my  gracious  lord. 

K.  R.    Dar'st  thou  resolve  to  kill  &  friend  of  mine? 

Tyr.       Please  you,  but  I  had  rather  kill  two  enemie*. 


380  The  Elements  of  Power. 

K.  R    Why,  then,  thou  hast  it — two  deep  enemies  ; 

fbes  to  my  rest,  and  my  sweet  sleep's  disturbers. 
Are  they  that  I  would  have  thee  deal  upon. 

1.  The  significant  words  are  often  a  whole  claust', } 
but  every  word  in  such  a  clause  is  not  commonly  to  h 
emphasized. 

Failure  to  observe  this  fact  often  occasions  diffi- 
culty and  mistakes  in  adjusting  the  emphasis. 
"  Boswell  tells  us  that  Garrick  and  Johnson  once 
disputed  about  the  emphasis  in  the  Ninth  Com- 
mandment, Thou  shalt  not  bear  false  witness  against 
thy  neighbor ;  the  one  maintaining  that  it  should  fal] 
upon  shaUy  the  other,  upon  not.  Yet  both  of  these 
great  men  were  clearly  wrong  in  this  case  ;  for  the 
true  emphasis  is  certainly  upon  the  whole  clause, 
bear  false  witness  against  thy  neiglJbcrr" 

Through  the  whole  line  of  their  march,  they  did  not  see  one  man, 
not  one  woman,  not  one  child,  not  one  four-footed  beast,  of  any  de- 
scription whatever. 

2.  Wlven  an  emphatic  word  or  phrase  is  repeated 
for  the  purpose  of  giving  it  increased  significance,  it 
takes  a  repeated  emphasis  ;  othenoise,  not 

This  is  an  important  rule,  often  violated  with  dam- 
aging effect.  The  following  is  an  example  of  the 
former  case. 

0  Jerusalem,  Jerusalem,  thou  that  killest  the  prophets,  and 
stonest  them  that  are  sent  unto  thee,  how  often  would  I  have 
gathered  thy  children  together,  as  a  hen  r'oth  gather  her  Lroof] 
ander  her  wings,  and  ye  would  not ! 

Again : 

Leaves  have  their  time  to  fall, 

And  Howers,  to  wither  at  the  north  wind  s  breath, 


Emphasis.  381 

And  stars,  to  set ;  but  a£— 

Thou  hast  all  seasons  for  thine  own,  0  death. 

The  following  is  an  example  of  the  latter  case. 

Jesus  therefore.  .  .  .  said  unto  them,  Whom  seek  yet  They  an 
iwered  him,  Jesus  of  Nazareth.  .  .  .  Then  asked  he  them  again* 
Whom  seek  ye  ?    And  they  said,  Jesus  of  Nazareth. 

3.  Great  care  is  required  to  guard  against  too  fre- 
quent emphasis. 

When  there  are  many  words  in  a  passage  strongly 
significant  of  emotion  or  passion,  a  temptation  arises 
to  load  the  delivery  with  emphasis.  In  such  cases, 
it  must  be  borne  in  mind  that  too  frequent  empha- 
sis destroys  its  whole  effect,  because  emphasis  con- 
sists essentially  in  distinguishing  the  most  signifi- 
cant words  and  phrases  from  the  others  with  which 
they  stand  immediately  connected.  This  tempta- 
tion is  sure  to  be  felt  in  such  passionate  words  as 
the  following. 

No,  by  the  holy  rood,  thou  know  st  it  well: 

Thou  cams't  on  earth  to  make  my  earth  a  heJL 

A  grievous  burden  was  thy  birth  to  me  ; 

Techy  and  wayward  was  thy  infancy  ; 

Thy  school  days,  frightful,  desperate,  wild  and  furious; 

Thy  prime  of  manhood,  daring,  bold  and  venturous  ; 

Thy  age,  confirmed  proud,  subtle,  sly  and  bloody, 

More  mild,  but  yet  more  harmful,  kind  in  hatred. 


§  241.  The  emphasis  of  thought  falls  on  the  words  and 
phrases  that  are  most  significant,  either  in  themselves,  or 
from  some  peculiar  relation. 

The  significance  of  words  and  phrases  depends 
on  an  almost  infinite  number  and  variety  of  circum- 
stances ;  so  that  those  which  are  most  significant,  ic 


382  The  Elements  of  Power. 

any  particular  case,  can  be  determined  only  by  care 
ful  study  of  the  passage.  The  following  general 
principles,  however,  are  to  be  observed. 

1.  Words  are  to  be  emphasized  which  suggest  mort 
than  they  express. 

This  rule  includes  the  principal  words  in  passages 
of  irony  ;  as  in  Elijah's  mockery  of  the  prophets  of 
Baal,  already  referred  to. 

And  it  came  to  pass  at  noon,  that  Elijah  mocked  them,  and  said, 
Ory  aloud,  for  he  is  a  god:  either  he  is  talking,  or  he  is  pursuing,  or 
he  is  in  a  journey,  or,  peradventure,  he  sleeptlh,  and  must  be 
awaked. 

An  admirable  example  of  words  that  suggest 
more  than  they  express,  and  thereby  become  em- 
phatic, is  found  in  the  word,  committed,  which  is  so 
often  repeated  in  Othello's  charges  against  Desde- 
mona,  in  §  236 — 1.     The  following  is  another. 

Oasca.       Indeed,  they  say,  the  senators  to-morrow 

Mean  to  establish  Cesar  as  a  king  ; 

And  he  shall  wear  his  crown  by  sea  and  land, 

In  every  place,  save  here  in  Italy. 
Oassius.     /know  where  I  will  wear  this  dogger  then  ; 

Cossiusfrom  bondage  wUl  deliver  Cassius. 

2.    Words  in  contrast  or  antithesis  require  to  be  em* 


These  cases  are  very  numerous  and  complicated 
requiring  close  attention  to  determine  them. 

Man  never  is,  but  always  to  be  blest 

He  raised  a  mortal  to  the  skies  ; 
She  drew  an  angel  down. 

The  young  are  slaves  to  novelty;  the  old,  to  custom;  the  middle- 
ageu,  to  bci\;  the  dead  only,  to  -it ither.     The  pleasures  of  the  im 


Emphasis.  383 

agination  are  not  go  gross  as  those  of  sense,  nor  so  refined  as  those  of 
the  understanding. 

3.  Words  in  close  grammatical  regimen,  with  import- 
ant clauses  intervening,  require  to  be  empliasized. 

This  rule  is  one  of  considerable  importance,  in 
order  to  bring  out,  or  make  evident  the  true  sense, 
or  grammatical  structure  of  sentences. 

Go,  preach  to  the  coward,  thou  death-telling  seer; 
Or,  if  gory  Culloden  so  dreadful  appear, 
Draw,  dotard,  around  thy  old  wavering  sight, 
1  his  mantle,  to  cover  the  phantoms  of  fright. 

4.  Articles,  connecting  particles,  auxiliaries,  and  tfa 
like,  take  t/ie  emphasis  only  when  they  have  some  spe- 
cial significance. 

He  made  not  only  a  speech,  but  the  speech  of  the 
I  did  not  say  man  or  woman,  but  man  and  woman. 
Not  this  man,  but  that  man. 
fie  was  going  not  to,  but  from  his  hojjaa 


CHAPTER  XJT. 

GESTURE. 

$  242.  Gt store  includes  all  significant  motions  and  actions  of 
the  human  body. 

Under  this  comprehensive  definition,  we  have  al] 
significant  motions  and  actions  of  the  trunk  itself, 
and  of  all  its  members — the  head  and  countenance, 
the  hands  and  arms,  and  the  feet.  Motions  which 
have  no  relation  to  significance,  are  not  properly 
gestures ;  but  there  are  very  few  if  any  motions, 
which  a  speaker  can  make,  which  are  not  significant 
of  something,  or  which  do  not  aid  or  hinder  him  in 
the  expression  of  his  sentiments.  In  fact,  it  would 
be  difficult  to  overestimate  the  expressive  power 
of  which  gesture  is  capable  ;  and,  consequently,  the 
folly  of  those  who  despise  or  neglect  this  final  and 
crowning  element  of  power  in  delivery,  cannot  be 
coo  strongly  condemned. 


*  243.  The  language  of  symbols  is  more  expressive  than  that 
of  words. 

The  following  considerations  may  serve  to  illustrate 
and  confirm  this  statement. 


Gesture.  885 

1.  The  expressiveness  of  figurative  language  depends 
upon  its  symbolical  character. 

Just  in  the  degree  in  which  articulate  language  is 
enabled  to  draw  upon  the  expressive  power  of  sym- 
bols, that  is,  in  the  degree  in  which  it  becomes  fig- 
urative or  symbolical,  does  it  become  picturesque, 
vivid  and  expressive.  This  is  a  well-known  principle 
of  style.  Hence  the  wonderful  power  of  our  Lord's 
parables,  of  the  imagery  employed  by  the  Hebrew 
prophets,  and  of  all  appropriate  figurative  represen- 
tations. This  power  is  due  to  the  fact  that  articu- 
late language  is  thus  capable  of  laying  hold  upon, 
and  of  appropriating  to  itself,  some  small  portion  of 
the  expressive  power  of  the  language  of  symbols. 

2.  Religious  ideas  express  themselves  in  symbols. 

All  the  great  historical  religions  of  mankind — that 
of  the  ancient  Egyptians,  Brachmanism,  Buddism, 
fire-worship,  the  paganism  of  the  Greeks  and  Romans, 
Druidism,  the  worship  of  Odin  and  Thor,  Judaism, 
Mohammedism  and  Christianity,  all  alike,  have  stri- 
ven to  set  forth  the  profoundest  mysteries  of  their 
faith  and  life,  by  means  of  symbolical  representa- 
tions. None  of  them  have  ever  been  satisfied  with 
mere  words.  The  only  rational  account  which  can 
be  given  of  this  remarkable  fact,  is  that  the  language 
of  words  is  universally  felt  to  be  inadequate  to  the 
expression  of  those  vast  and  profound  ideas,  and  of 
those  impassioned  sentiments,  which  belong  to  the 
religious  life  of  man. 

3.  AU  profound  ideas,  and  aU  impassioned  sentiments, 
require  symbolical  expression. 


386  The  Elements  of  Power. 

Tli is  is  the  fundamental  principle  from  which  ori- 
ginate all  the  symbols  of  art,  which  embody  the 
ideas  and  sentiments  of  the  beautiful  in  the  minds  of 
their  authors,  and  of  the  people  among  whom  they 
are  produced.  But  this  principle  is  not  limited  to 
religion  and  art.  All  profound  ideas,  and  all  im- 
passioned sentiments,  but  most  of  all,  those  which 
prevail  extensively,  and  generally  affect  whole  com- 
munities, can  never  rest  satisfied  until  they  find  ex- 
pression in  symbolical  representation.  This  might 
be  shown  by  innumerable  examples,  such  as  the 
following. 

(U  The  life  and  spirit  of  the  ancient  Romans  was 
their  unrivalled  genius  for  war  and  conquest.  The 
ideas  which  universally  prevailed  among  these  iron 
republicans,  were  that  Borne  was  invincible ;  that  but 
one  result  was  ever  to  be  anticipated  in  all  wars  in 
winch  she  might  become  involved;  that  in  these 
conflicts,  other  nations  must  expect  to  be  conquered. 
In  order  to  express  these  ideas  in  the  most  striking 
and  vivid  manner  possible,  it  was  their  custom  to 
give  audience  to  foreign  ambassadors  in  the  temple 
of  Victory. 

(2.)  Again  :  in  order  to  express  these  same  ideas, 
in  the  still  stronger  form,  that  other  nations  were  to 
the  Romans  as  brute  beasts,  made  to  be  subjugated, 
they  sometimes  erected  upon  the  field  of  victory  an 
immense  wooden  frame,  in  the  form  of  a  yoke  for 
beasts  of  burden,  under  which  they  marched  the 
remains  of  the  conquered  army,  and  then  dismissed 
them  to  their  homes.  This  was  called  passing 
under  the  yoke.    "What  words,  what  bulletins  of  ex- 


Gesture.  387 

nitatiou,  could  have  expressed  these  ideas  with  the 
life  and  power  of  this  tremendous  symbol 


5  244.  Gesture  is  a  principal  element  of  the  symbolical  lan- 
guage of  nature,  and  of  the  passions,  which  is  universally 
understood. 

1.  This  language  is  wonderfully  copious  and  signifi- 
cant. 

The  immense  copiousness  and  wonderful  signifi- 
cance of  this  language  of  nature  and  of  the  passions, 
lias  been  already  alluded  to  in  the  treatment  of 
feeling  as  one  of  the  sources  of  power  in  delivery  • 
and  this  must  have  become  still  more  evident  from 
the  preceding  discussion  of  the  several  elements  of 
this  language,  consisting  of  all  the  variations  ol 
quality  and  stress  of  voice,  articulation,  pitch,  inflec- 
tion, time,  pause  and  emphasis. 

2.  Gesture  is  a  principal  element  of  this  symbolical 
language,  and  more  expressive  than  words. 

Strong  passion,  or  profound  emotion,  is  never  sat- 
isfied with  any  expression  of  itself  that  is  possible  in 
mere  words ;  it  feels  itself  to  be  still  pent  up,  until  it 
finds  an  outlet  by  embodying  itself  in  some  appro- 
priate act  or  motion  of  the  body.  Nay,  even  slight 
ind  transient  feelings  require  action,  in  order  to  their 
full  and  adequate  expression.  Not  only  does  the 
tempest  raise  up  the  great  ocean  waves ;  the  zephyr 
also  ripples  the  smooth  surface  of  the  mountain 
lake.  Hence  nature  has  provided  that  certain  ac- 
tions or  motions  shall  correspond  to  certain  feelings ; 
and  that  these  feelings  shall  instinctively  prompt  to 


$88  The  Elements  of  Poweh. 

those  actions.  Such  actions  or  motions  are,  in  & 
peculiar  sense,  the  language  of  nature  for  the  e* 
pression  of  such  feelings.  Here  we  have  the  whole, 
theory  of  gesture,  and  the  explanation  of  its  won- 
derful power  of  expression.  Hence  it  is  that  angei 
frowns,  fear  turns  pale,  shame  blushes,  pleasure 
smhVt,  love  sparkles  in  the  eyes,  humility  bows  the 
head,  and  despair  grins,  gnashes  the  teeth,  and  tears 
the  hair.  No  words  can  equal  the  expressive  power 
of  such  symbolical  acts — actions,  here  as  every- 
where, speak  louder  than  words.  To  the  same  effect, 
Quintilian  teaches  us  that  "gesture  is  commonly 
more  expressive  than  the  voice.  For  not  only  the 
hand,  but  even  a  nod  is  expressive  of  our  sentiments. 
A  common  salute,  before  the  person  speaks  a  single 
word,  gives  us  an  intimation  of  his  disposition  ;  and 
we  discern  by  the  face  and  the  walk  the  workings 
of  the  mind.  Nay,  even  the  brutes,  devoid  of  speech, 
express  anger,  pleasure   and  love,  in  their  eyes,  and 

by  certain  movements  of  their  bodies Painting 

itself,  though  motionless  as  well  as  silent,  sometimes 
affects  us  more  powerfully  than  words." 

3.   This  language  is  universally  understood. 

Articulate  speech  has  very  much  in  it  that  is 
urely  conventional.  Some  would  even  persuade  us 
that  it  is  wholly  such  ;  but  this  surely  cannot  be  ad- 
mitted. Yet  speech  requires  to  be  learned  before  it 
can  be  understood  ;  and  our  knowledge  of  the  sense 
in  which  others  use  the  words  we  hear,  is  never  per- 
fect, It  is  even  maintained,  and  not  with  mere 
show  of  argument,  that  we  never  understand  one 
another  precisely  in  the  sense  in  which  we  speak 


Gesture.  889 

But  in  this  language  of  nature,  as  we  have  sees 
(§  31),  especially  in  this  element  of  it  which  con- 
sists of  gestures,  there  is  something  which  no  art 
can,  or  ought  ever  to  undertake  to  teach,  apart  from 
the  feelings  by  which  it  is  prompted  and  inspired  ; 
and  all  that  art  can  do  is  to  aid  nature,  when  these 
feelings  are  in  full  activity,  to  express  them  with 
greater  simplicity,  fullness,  freedom  and  power, 
than  were  otherwise  possible.  Here  therefore  no- 
thing requires  to  be  learned  before  it  can  be  under- 
stood. Every  symbol  has  its  own  natural  signifi- 
cance, which  all  understand  instinctively  at  the  same 
moment.  Not  a  single  person  in  the  largest  audi- 
ence, ever  fails  to  understand  the  natural  signifi- 
cance, or  to  feel  the  force  of  appropriate  gesture. 
Who  ever  misunderstood  a  blush,  or  a  frown,  or  the 
clenched  fist,  or  the  eyes  and  hands  raised  toward-; 
heaven?  And  when  a  whole  audience  is  thus  af- 
fected in  the  same  way,  at  one  and  the  same  mo- 
ment, the  effect  is  wonderfully  intensified  by  all  the 
mysterious  workings  of  their  sympathy  with  the 
speaker,  and  with  each  other  (§§  55 — 58). 


&  245.  By  gesture  the  orator  is  enabled  to  express  his  sentiments 
to  the  eye,  at  the  same  time  that  by  his  words  he  expresses 
them  to  the  ear. 

The  eye  and  the  ear,  beyond  comparison,  are  the; 
noblest  of  all  the  senses ;  upon  which,  therefore,  al] 
the  arts  of  expression  depend.  No  attempt  has  ever 
been  made  to  found  such  an  art  upon  any  of  the 
lenses  of  feeling,  taste,  or  smell.     But  all  the.<\e  arts 


390  The  Elements  of  Power. 

except  that  of  oratory,  address  themselves  exclu- 
sively to  one,  or  the  other,  of  these  two  art-senses  j 
poetry  and  music,  exclusively  to  the  ear ;  painting, 
sculpture,  architecture,  landscape  gardening,  danc- 
ing, and  the  art  of  ornamentation,  to  the  eye  alone. 
Hence  all  the  effects  which  any  of  these  arts  can 
produce,  must  be  wrought  through  a  single  sense. 
But  oratory — with  which  the  dramatic,  or  more 
properly  the  histrionic  art  is  so  closely  identified, 
that  for  elocutionary  purposes  they  can  hardly  be 
distinguished  from  each  other — oratory  alone  ad- 
dresses itself  equally,  and  at  the  same  moment,  both 
to  the  ear  and  the  eye.  Consequently  its  power  oi 
expression  is  incomparably  greater  than  that  of  any 
other  art.  Hence  in  the  words  of  an  able,  but  anon- 
ymous author,  "  there  is  no  earthly  object  capable  of 
making  such  various,  and  such  forcible  impressions 
upon  the  human  mind,  as  a  consummate  speaker." 
For  as  the  concurrent  testimony  of  two  witnesses 
has  not  merely  double,  but  many  times  greater  force 
than  that  of  one,  so  when  a  sentiment  is  addressed 
to  both  of  these  senses  at  the  same  time,  it  produces 
immeasurably  greater  effects  upon  the  soul,  than 
when  it  depends  upon  either  of  them  alone. 


)  246.  The  great  significance  of  gesture  is  exemplified  in  the 
art  of  pantomime,  and  in  the  language  of  deaf  mutes. 

We  see  from  the  preceding  discussion,  not  only 
how  much  gesture  aids  in  the  expression  of  senti- 
ment, but  also  that  it  has  a  significance  of  list]  own, 
which  is  entirely  independent  of  words.     So  greai 


Gestube.  391 

is  its  power  of  expression  that  it  can  be  made  to 
Btand  in  the  place,  and  perform  the  functions  of  ar- 
ticulate speech.     The  following  are  examples  of  this 

1.  The  art  of  'pantomime  is  capable  of  exciting  a 
powerful  interest. 

In  this  species  of  dramatic  entertainment,  the 
whole  story  and  action  of  the  drama  is  represented 
in  dumb  show,  that  is,  by  gesture  alone.  These 
representations  excited  among  the  ancient  Romans 
a  deep  and  passionate  interest ;  such,  indeed,  that 
they  have  carefully  handed  down  to  us  the  names 
of  their  most  accomplished  and  celebrated  per- 
formers ;  and  such  that  serious  riots  sometimes  oc- 
curred among  the  people,  from  the  violence  of  their 
partisanship  of  rival  actors.  Now  the  bare  fact 
that  the  spectators  could  be  kept  together  for  hours 
at  a  time,  whilst  not  a  word  was  spoken — much 
more,  that  these  exhibitions  were  so  popular,  and 
excited  such  a  deep  interest,  is  abundant  evidence 
that  the  art  of  expressing  thought  and  sentiment  by 
gesture  alone,  had  been  carried  to  a  very  high  de- 
gree of  perfection ;  and  that  the  performers  were 
able,  in  this  way,  to  tell  the  whole  story,  and  to 
represent  the  whole  action  of  their  dramas,  in  a 
perfectly  intelligible  and  very  affecting  manner. 

2.  Deaf  mutes  are  able  to  communicate  by  signs  alone. 
The  great  significance  and  power  of  expression  oi 

which  gesture  is  capable,  cannot  perhaps  be  better 
illustrated  than  by  the  amazing  facility  and  freedom 
with  which  the  deaf  and  dumb  communicate  their 
ideas  and  sentiments.     A  very  little  familiarity  witi? 


392  The  Elements  of  Powei. 

their  signs,  will  enable  any  one  to  understan  1  and 
to  converse  with  them,  on  all  ordinary  topics  and 
occasions.  One  of  the  most  entertaining  and  in- 
structive companions  the  author  ever  had,  was  a 
deaf  and  dumb  youth,  of  high  literary  culture,  and 
the  author  of  an  original  work  on  Greek  and  Ho- 
rn an  mythology,*  with  whom  he  was  formerly  ac- 
customed to  ramble,  for  many  hours  at  a  time, 
through  the  woods,  and  over  the  hills  of  the  Schuyl- 
kill. The  principal  means  of  communication  on 
these  occasions,  was  this  natural  language  of  dumb 
signs.  He  well  remembers  also  to  have  heard,  or 
rather  seen,  the  whole  story  of  the  monkey  that 
snatched  an  infant  from  the  arms  of  its  mother,  and  ran 
with  it  up  to  the  mast-head  of  a  ship,  together  with 
the  anguish  of  the  mother,  and  the  stratagem  by 
which  she  regained  possession  of  her  child  unhurt, 
told  by  a  mute  little  girl  twelve  or  thirteen  years  old, 
not  only  in  a  perfectly  intelligible,  but  even  in  an  ex- 
tremely affecting  manner.  In  fact,  a  better  school 
of  gesture  for  public  speakers,  could  not  possibly  be 
found,  than  an  asylum  for  deaf  mutes,  and  familiar 
intercourse  with  its  inmates. 


§  247.  Gesture  is  expressive  of  passion  and  emotion  rathei 
than  of  thought. 

This  is  a  general  principle,  and  one  of  great  im 
portance  in  determining  the  character,  place  and  fre- 
quency of  the  gestures  which  are  required  in  j  ublic 
speaking.     It  teaches  us  to  distinguish  between  th* 

*  A.  Catechism  of  Mythology.    By  Wm.  Darlington. 


Gesture.  393 

orator,  and  the  nihnic  or  pantomime  actor.  For  in 
oratory,  we  ought  not  to  gesticulate  as  if  we  were 
limited  to  dumb  signs ;  we  must  remember  that  we 
have  also  words  to  express  our  thoughts ;  and, 
thereby,  guard  ourselves  against  the  temptation  to 
redundant  and  inappropriate  gesture.  The  oratoi 
should  endeavor  to  express  by  his  gestures  his  emo- 
tions rather  than  his  thoughts  or  intellectual  states. 
With  due  discretion,  indeed,  he  may  employ  gesture 
for  imitative  purposes,  and  for  the  expression  of  his 
thoughts.  He  may  point  to  the  sun,  or  to  a  moun- 
tain, or  river,  when  speaking  of  any  of  these  objects, 
or  he  may  touch  his  own  forehead,  or  lay  his  finger 
on  his  lips,  to  express  meditation  or  silence ;  but  he 
should  avoid  the  frequent  use  of  such  imitative  ges- 
tures, and  too  great  particularity  in  them ;  otherwise 
he  will  assuredly  enfeeble  his  delivery. 

This  principle,  with  the  above,  and  still  other 
practical  consequences,  rests  upon  the  following 
reasons. 

1.  Emotion  rather  than  thought  is  the  immediate 
cause  of  gesture. 

Mere  thought  is  naturally  quiet  and  undemon- 
strative ;  it  does  not  of  itself  prompt  to  action  of  any 
kind ;  and  the  more  profound  the  thought,  that  is, 
the  more  a  man  becomes  absorbed  in  purely  intel- 
lectual operations,  the  more  still  and  motionless 
does  the  body  become.  The  incongruity  of  deliver- 
ing a  demonstration  in  Euclid  with  abundant  01 
violent  gesture,  would  be  apparent  to  every  one 
On  the  other  hand,  passion,  or  emotion,  is  essen 


S94  The  Elements  of  Power. 

tially  active  and  demonstrative ;  it  always  prompt* 
to  action ;  and  the  stronger  it  is,  the  more  abundant 
and  striking  does  the  gesture  become.  It  is  not  the 
mere  thought  or  conception  of  a  shameful,  or  cf  a 
sorrowful  object,  but  it  is  the  feeling  of  shame,  or  o 
sorrow,  which  causes  the  cheeks  to  blush,  or  the 
eyes  to  overflow  with  tears.  Hence,  also,  the  equal 
incongruity  of  the  delivery  of  impassioned  senti- 
ments with  little  or  no  corresponding  gesture. 

2.   Gesture  corresponds  to  the  nature  of  emotion, 
rather  than  to  that  of  thought. 

There  is  ever  a  likeness  to  the  cause  in  its  effects ; 
hence  there  is  a  resemblance  or  correspondence  be- 
tween gesture,  and  the  emotion  from  which  it 
springs.  Such  resemblance  might  be  pointed  out 
in  many  particulars  ;  but  that  one  to  winch  it  seems 
most  necessary  to  direct  attention  here,  is  the  inde- 
finiteness  of  both  gesture  and  emotion.  For  there 
is  a  definiteness  or  precision  in  the  meaning  of  words, 
in  which  they  correspond  to  the  precision  of  thought, 
and  of  which  gesture  is  altogether  incapable.  The 
dictionary  will  give  us  the  definition  of  a  word  ;  but 
it  cannot  give  us  the  emotion  which  corresponds  to 
it,  and  whi3h  it  is  intended  to  express,  in  any  par- 
ticular connection.  The  emotions,  especially  in 
their  ever-varying  degrees  of  strength,  are  essentially 
incapable  of  such  definition.  They  do  not  reflect 
themselves  in  distinct  outlines  upon  the  intellect, 
they  are  the  acts  of  the  sensibilities  of  the  soul 
They  also  overlap,  involve,  or  imply  each  other,  in  a 
very  different  manner  from  the  intellectual  opera 
tions  of  the  mind.    The  attempt  to  define  precisely 


Gesture.  396 

in  character  or  degiee,  any  particular  emotion^ 
whilst  we  are  under  its  influence,  would  paralyze  it. 
There  is  obviously  a  corresponding  indefiniteness  in 
gesture,  which  renders  it  better  adapted  to  the  ex- 
pression of  emotion  and  passion,  than  it  is  to  the 
expression  of  thought.  Thus  tears  commonly  ex- 
press sorrow,  but  they  do  not  tell  us,  as  words  would 
do,  whether  that  sorrow  be  for  the  death  of  a  friend., 
or  for  the  commission  of  a  sin ;  and  the  hand  raised 
to  heaven  expresses  recognition  of  the  being  and 
providence  of  God,  but  it  does  not  tell  us,  whether 
in  reverence  and  submission,  or  in  distrust  and  fear. 


§  $  18.  Too  much  gestnre,  though  significant  and  appropriate, 
enfeebles  its  power  of  expression ;  otherwise,  too  much 
is  better  than  too  little. 

1    The  speaker  should  be  continent  of  significant  ges- 
ture.. 

TV  hen  the  gesture  is  highly  significant  and  ex- 
pressive, a  very  little  of  it  will  go  a  great  way ;  and 
too  much  of  it  enfeebles  its  expressive  power,  and 
is  to  be  carefully  avoided.  It  has  an  effect  similar 
to  that  of  too  much  emphasis  (§§240 — 3).  It 
comes  so  frequently  that  it  does  not  allow  time  suf- 
ficient for  the  audience  to  feel  its  force.  From  its 
redundancy,  it  ceases  to  attract  attention.  A  single, 
gesture  in  a  paragraph,  provided  it  be  one  of  strik- 
ing significance,  will  often  produce  a  far  greater 
effec  t  than  a  dozen,  in  themselves  equally  expres- 
sive. Continence  of  significant  gesture,  like  con- 
tinence of  words,  and  of  emphasis,  is  a  great  ele 
merit  o '  power  in  delivery. 


3%  The  Element  of  Power. 

2.  Too  much  of  gesture,  not  specially  si{inificajit,  U 
bette\'  than  too  little. 

On  the  other  hand,  a  speaker  with  little  or  nc 
skill  in  the  adaptation  of  gesture  to  the  expression 
of  particular  emotions,  need  not  be  afraid  of  too 
much  action.  In  young  speakers,  especially  during 
the  training  period,  it  ought  to  be  rather  redundant 
than  deficient ;  for  it  is  inn«:h  easier  to  prune  it 
down  than  it  is  to  call  it  forth,  after  the  habit  of 
speaking  with  too  little  has  been  formed.  And,  be- 
sides, motion  as  such,  even  when  it  has  no  particular 
significance,  is  expressive ;  for  it  shows  that  the 
speaker  is  not  without  feeling  of  some  sort.  The 
want  of  it  makes  the  impression  that  he  is  impas- 
sive and  unmoved;  it  is  necessarily  the  want  of  ani- 
mation or  vivacity  (§§  82 — 3).  He  may  do  some- 
thing, it  is  true,  to  neutralize  this  impression  by 
means  of  the  vocal  elements  of  the  language  of  feel- 
ing; but  it  is  impossible  to  compensate  by  these 
for  the  want  of  gesture ;  and  all  the  elements  of  this 
language  are  so  vitally  connected  with  each  other 
that  they  are  well-nigh  inseparable.  Hence  it  is 
uearly  impossible  to  speak  with  animation,  whilst 
every  part  of  the  body  is  motionless  except  thf 
vocal  organs ;  and  nothing  can  be  more  incongruous 
-han  a  motionless  delivery  of  impassioned  senti- 
ments. 


3  249.  The  normal  position  of  the  body  in  speaking  should  be 
erect,  facing  the  audience,  the  chest  expanded,  the  head 
evenly  balanced,  the  arms  and  hands  hanging  nat  irallj 
at  the  sides,  ard  the  feet  near  together. 


Gesture.  397 

This  is  the  normal  position  of  the  body  which  ia 
best  for  speaking,  and  to  which  it  should  naturally 
return  after  whatever  deviations  from  it  the  gesture 
may  require.  The  erect  position  is  necessary  tc 
the  full  expansion  of  the  chest;  and  this,  to  the  free 
play  and  full  force  and  control  of  the  diaphragm, 
breathing  muscles,  lungs  and  voice.  The  body 
should  not  lean  back,  which  seems  to  say  to  the 
audience,  I  don't  much  care  for  you;  its  weight 
should  rest  rather  upon  the  front  part  of  the  feet 
than  upon  the  heels,  just  a  little,  perhaps,  inclined 
forwards  ;  which  expresses  desire  to  gain  the  favor- 
able attention  of  the  audience.  There  should  be  no 
leaning  or  lolling  down  upon  anything  for  support, 
as  if  the  speaker  were  too  feeble,  or  too  lazy,  to  sup- 
port himself ;  which  also  expresses  disrespect  for 
the  audience.  The  front  of  the  body  should  not  be 
turned  aside  or  averted  from  the  audience,  other- 
wise than  temporarily,  in  some  gesture  which  may 
require  such  a  movement.  The  head  should  not  be 
thrown  back,  which  expresses  pride  or  contempt ; 
neither  should  it  fytfheld  on  one  side  or  the  other, 
which  expresses  conceited  knowingness,  or  waggish- 
ness  ;  nor  yet  should  it  be  allowed  to  hang  down  on 
the  breast,  which  expresses  sorrow,  or  distress,  or 
shame ; — but  it  should  stand  evenly  balanced  upon 
the  shoulders,  ready  to  be  moved  in  any  way  ac- 
cording to  the  varying  sentiments.  The  hands- 
should  not  be  thrust  into  the  pockets,  nor  under 
the  coat-tails,  nor  clasped  behind  the  back,  nor  held 
in  front,  with  the  fingers  joined  together  at  the  ex- 
tremities, nor    with  the    fists  doubled;    but   thet 


398  The  Elementl  of  Power. 

should  hang  open,  though  not  expanded,  at  the 
sides,  and  not  in  front  of  the  body.  The  feet 
should  be  kept  near,  but  not  too  near  together,  so 
as  to  avoid  everything  like  straddling.  In  this  posi- 
tion, which,  however,  may  be  varied  from  time  to 
time,  the  whole  body,  and  all  its  members,  will  be 
found  ready  and  apt  for  whatever  gestures  or  move- 
ments the  expression  of  the  sentiments  may  re- 
quire. 

§  250.  The  countenance  has  the  greatest  power  of  expression ; 
it  should  correspond  to  the  sentiments  embodied  in  the 
words. 

1.  The  countenance  speaks. 

The  expressive  power  of  the  human  countenance 
renders  it  capable  of  becoming  one  of  the  most  im- 
portant elements  of  power  in  delivery.  It  is  such, 
in  fact,  that  we  can  say,  a  speaking  countenance, 
almost  as  properly  as,  a  speaking  tongue.  In  the 
words  of  Quintilian,  "this  is  the  dominant  power 
in  expression.  With  this  we  supplicate ;  with  this 
we  threaten ;  with  this  we  soothe ;  with  this  we 
mourn ;  with  this  we  rejoice  ;  with  this  we  triumph ; 
with  this  we  make  our  submissions  :  upon  this  the 
audience  hang;  upon  this  they  keep  their  eyes 
fixed ;  this  they  examine  and  study,  even  before  a 
word  is  spoken ;  this  it  is  which  excites  ic  them 
favorable  or  unfavorable  emotions ;  from  this  they 
understand  almost  everything;  often  it  becomes 
more  significant  than  any  words." 


Gesture.  399 

2  It  should  correspond  to  the  sentiments  expressed  by 
the  -words. 

This  general  and  obvious  rule  is  better  than  any 
Attempts  to  describe  the  particular  expressions,  or 
conformations  of  the  features,  which  are  appropriate 
to  all  the  passions  and  emotions,  in  all  their  differ- 
ent  degrees,  and  innumerable  modifications.  This, 
indeed,  would  not  only  be  an  endless  task,  but  also 
it  would  leave  nothing  to  the  teaching  of  nature,  in 
this  department  of  her  own  language.  The  attempt 
to  govern  the  expression  of  the  countenance  by  spe- 
cial and  minute  rules,  telling  us  where  to  blush, 
where  to  grow  pale,  where  to  frown,  where  to  smile, 
and  where  to  weep — there  can  be  no  greater  absurd- 
ity than  this.  The  feelings  themselves,  nothing  else, 
can  enable  us  to  express  them  in  the  countenance  ; 
and  these,  whenever  they  are  in  full  and  free  activ- 
ity at  the  moment,  will  express  themselves. 

This  general  rule,  however,  may  serve  to  remind 
the  student,  that  the  countenance  ought  to  corres- 
pond to  the  sentiments  of  the  words,  as  they  are 
spoken.  For  by  these  two  modes  of  expression, 
brought  to  bear  upon  the  audience  at  the  same  mo- 
ment, the  power  of  the  delivery  is  greatly  increased. 
It  should  put  him  on  his  guard  against  indiscrimi- 
nate smiling  and  frowning.  For  not  unfrequenfcly 
the  strenuous  effort  of  speaking,  is  allowed  to  con- 
tract the  features  in  a  permanent  frown  ;  and  some 
speakers,  even  in  their  most  pathetic  passages,  con 
tinue  to  smile,  showing  their  teeth  on  all  occasions, 
which  is  extremely  unpleasant.  The  rule  also  should 
call  the  attention  to  the  incongruity  of  delivering 


400  The  Elements  of  Power. 

grave,  solemn,  sublime,  sorrowful,  or  compassionate 
sentiments,  with  a  scornful,  smiling,  or  indifferent 
countenance  ;  and  to  that  of  delivering  playful,  witty, 
joyful,  or  animated  passages,  with  a  sober,  sad,  ox 
mournful  countenance.  The  rule,  however,  requires 
to  be  qualified  in  the  expression  of  what  is  called, 
dry  humor,  or  grotesque  sentiments ;  in  which,  the 
utmost  soberness  of  face  will  often,  by  its  very  incon- 
gruity, greatly  intensify  the  effect. 

§  251.  The  eye  is  the  most  expressive  of  all  the  features ;  it 
should  be  directed  to  the  faces  of  the  audience. 

1.  Tlue  eye  governs  the  expression  of  the  other  fea- 
tures. 

The  expressive  power  of  the  human  eye  is  so 
great  that  it  determines,  in  a  manner,  the  expression 
of  the  whole  countenance.  It  is  almost  impossible 
to  disguise  it.  It  is  said  that  gamblers  rely  more 
upon  the  study  of  the  eye,  to  discover  the  state  of 
their  opponents'  game,  than  upon  any  other  means. 
Even  animals  are  susceptible  of  its  power.  The  dog 
watches  the  eyes  of  his  master,  and  discovers  from 
them,  before  a  word  is  spoken,  whether  he  is  to  ex- 
pect a  caress,  or  apprehend  chastisement.  It  is  said 
that  the  Hon  cannot  attack  a  man,  so  long  as  the 
man  looks  him  steadily  in  the  eyes.  Joy  and  grief, 
anger,  pride,  scorn,  hatred,  love,  jealousy,  pity — in  a 
word,  all  the  passions  and  emotions  of  the  human 
heart,  in  all  their  degrees  and  interworkings  with 
each  other,  express  themselves,  with  the  utmost  full- 
ness and  power,  in  the  eyes.     Through  them  the 


Gestuiie.  40J 

soul  makes  its  most  clear  and  vivid  manifestations 
of  itself. 

2.  It  should  be  kept  upon  the  faces  of  the  audience. 

In  order  that  the  speaker  may  avail  himself  of  this 
great  and  mysterious  power  of  expression,  he  must 
not  allow  his  eyes  to  become  fixed  upon  his  manu- 
script ;  nor  to  assume  a  vacant  expression,  under 
the  influence  of  the  intellectual  operations  of  inven- 
tion, or  remembering;  nor  to  wander  around  the 
walls  of  the  audience  room,  or  up  to  the  ceiling,  nor 
to  follow  the  motions  of  the  hands,  as  if  the  speaker 
were  looking  at  them.  He  must  look  at  the  audi- 
ence, and  scan  their  faces  individually,  in  order  to 
open  a  personal  communication  between  himself 
and  every  one  of  them,  so  far  as  this  is  possible. 
He  should  not  allow  his  eye  to  wander  from  the  au- 
dience, except  when  this  is  required  by  some  gesture. 
Thus  he  will  be  enabled  to  command  their  attention, 
and  awaken  their  sympathy  ;  and  his  eye  will  natu- 
rally express  and  convey  to  them  all  the  passions 
and  emotions  of  his  own  heart  (§§  51 — 2  ;  52 — 2). 

§  252.  The  gestnres  of  the  hands  are  capable  of  great  ex- 
pression ;  they  are  almost  infinite  in  number  and  variety, 
and  should  be  adapted  to  the  words. 

1.  The  expression  of  the  hands  is  inferior  only  to  that 
of  the  countenance. 

Quintilian  seems  to  regard  the  hands  as  nearly 
equal  in  power  of  expression  to  the  countenance 
itself.  "  Without  the  hands,"  he  says,  "  delivery 
would  be  maimed  and  feeble  ;  for  in  copiousness  of 


±02  The  Elements  of  Power. 

expression,  they  almost  equal  words.  Other  part* 
of  the  body  aid  the  speaker ;  but,  if  I  may  so  ex- 
press myself,  the  hands  themselves  speak.  Foi 
with  them  do  we  not  ask,  promise,  call,  dismiss, 
threaten,  supplicate,  detest,  fear,  interrogate,  deny  ? 
With  them  do  we  not  express  joy,  sorrow,  doubt, 
confession,  penitence,  moderation,  abundance,  num- 
ber, time?  Do  they  not  excite,  beseech,  forbid, 
prove,  admire,  and  express  shame?  In  pointing 
out  places  and  persons,  do  they  not  perform  the 
functions  of  adverbs  and  pronouns?  And  amidst 
the  so  great  diversity  of  tongues,  in  all  races  and 
nations,  is  not  this  language  common  to  all  men?" 

2.  The  number  and  variety  of  manual  gestures  is 
almost  infinite;  they  should  accompany  and  increase 
tlie  significance  of  the  words. 

"Suit  the  action  to  the  word,  and  word  to  the 
action."  This  is  the  direction  of  our  great  master, 
which  covers  the  ground  of  all  gesture.  But  to  do 
this — hie  labor,  hoc  opus.  Here  again  almost  every- 
thing must  be  left  to  nature,  for  the  reasons  given 
in  §  31.  "  Let  your  discretion  be  your  tutor." 
Yet  there  are  certain  points  upon  which  more 
special  directions  may  be  of  service. 

(1.)  The  hand  should  express  variety  or  anima- 
tion. For  this  purpose  its  normal  position  in  gestur- 
ing should  be  open,  the  fingers  slightly  curved,  and 
touching  each  other,  the  thumb  somewhat  raised  in 
front  of  the  fingers,  pointing  in  the  same  direction 
with  them.  When  the  thumb  is  too  much  raised,  so  as 


Gesture.  403 

to  point  backwards  m  a  different  direct" 01.,  or  stands 
at  right  angles  to  the  fingers,  it  wants  ease  and  grace  j 
and  when  it  is  expanded  in  the  same  plane  with  the 
fingers,  the  hand  seems  to  be  dead,  or  without  expres- 
sion. In  gesture,  the  fingers  should  move  at  their 
joints,  so  as  to  partake  of  the  motion  of  the  arm. 
When  the  gesture  is  made  with  the  arm,  whilst  the 
hand  and  fingers  remain  motionless,  it  is  necessarily 
without  expression.  The  hand  must  show  that  the 
speaker  is  all  alive,  even  to  his  finger  nails. 

(2.)  The  whole  arm  should  move  with  the  hand. 
The  gesture  should  not  be  made  from  the  shoul- 
der, nor  from  the  elbow,  alone  ;  but  the  wrist  joint 
and  the  fingers  should  partake  of  the  motion. 

(3.)  The  right  hand  should  be  most  used.  Ges- 
tures with  the  left  hand  alone,  should  be  much 
less  frequent  than  with  the  right.  When  too  fre- 
quent, they  seem  to  indicate  that  the  speaker  is  left- 
handed.  They  are  useful,  however,  to  aid  in  giving 
variety  of  motion,  and  to  relieve  the  right  hand, 
that  its  motions  may  not  be  too  frequently  re- 
peated. 

(4.)  The  double  gesture  should  not  be  too  fre- 
quent. The  raising  of  both  hands,  with  the  arms 
expanded  or  curved,  so  as  to  correspond  with  each 
other,  should  seldom  be  employed,  except  when  large- 
ness, wholeness,  or  universality,  is  tc  be  expressed. 
This  gesture,  when  too  frequent,  or  without  spe- 
cial significance,  expresses  dullness  or  stupidity. 
Whenever  it  is  introduced,  both  hands  should  be 
raised   and  lowered  at    the    same  moment ;    one 


iOA  The  Elements  ci  Power. 

should  never  be  brought  up  to  the  other,  nor  lei 
fall  while  the  other  is  held  up. 

(5.)  The  index  finger  demonstrates.  This  ges- 
ture is  very  effective  when  some  person  or  thing 
is  to  be  pointed  out,  in  sharp  distinction  from 
everything  else ;  also,  in  exhibiting  some  precise 
point  in  argument.  Otherwise  it  should  be  seldom 
used.  When  too  frequent,  it  becomes  extremely 
insignificant  and  pointless. 

(6.)  The  clenched  fist  expresses  the  violent 
irascible  passions.  The  hand  should  never  be 
allowed  to  take  this  position,  without  special  sig- 
nificance of  the  passions  to  which  it  is  appropriate. 

(7.)  Gesture  should  begin  and  end  with  the  words. 
The  sentiment  in  the  words  should  so  prompt  the 
gesture  that  it  shall  begin  and  end  with  them. 
When  it  precedes  the  words,  or  continues  after  they 
are  finished,  the  effect  is  incongruous,  and  very  dis- 
pleasing. 

(8.)  Gesture  should  be  more  or  less  frequent  and 
rapid  according  to  the  sentiment.  In  general,  a 
due  medium  is  to  be  observed  between  too  great 
rapidity  and  frequency  of  gesture,  and  too  little. 

(9.)  After  every  gesture,  the  arm  and  hand  should 
return  to  their  normal  position.  Having  made  a 
gesture,  the  speaker  should  be  satisfied  with  it,  and 
end  ii  The  hand  should  not  keep  repeating  the 
same  motion  again  and  again,  as  if  conscious  cf  its 
feebleness,  and  impotently  striving  to  give  it  som« 
sort  of  expression. 

(10.)  Errors  in  gesture,  from  Quintilian.  "Seme 
speakers  raise    the    hand   so  high    as   to   expose 


Gesture.  405 

the  whole  side;  others  seem  to  want  the  power 
to  draw  it  out  of  the  bosom ;  another  thr lists  it  out 
to  its  full  length;  another  stretches  it  above  his 
head ;  another  lays  about  him,  so  that  it  is  unsafe 
to  stand  within  his  reach  ;  another  describes  a  large 
sweep  with  his  left  hand.  Some  manage  the  hands 
with  indolence  or  tremor ;  others  seem  to  saw  the 
air;  others  use  their  hands  as  if  they  had  claws, 
pawing  with  them ;  others  thrust  out  the  arm 
almost  on  a  line  with  the  ear,  expanding  the  hand, 
and  inverting  the  thumb  ;  and  this  they  call,  speak- 
ing in  a  commanding  posture.  Others  again  twirl 
their  fingers  whenever  they  think  they  have  said 
something  smart ;  another  hems  and  coughs,  as  if 
something  stuck  in  his  throat;  another  blows  and 
wipes  his  nose  without  necessity." 

§  253.  Gestures  with  the  feet  should  be  seldom  used. 

It  is  lawful  sometimes  to  emphasize  a  sentiment 
by  stamping  with  the  foot ;  but  such  gestures  must 
not  be  frequently  repeated.  Some  speakers  keep  up 
a  regular  stroke  of  the  foot  upon  the  floor,  every 
minute  or  two ;  but  this  is  a  mere  mannerism,  which 
means  nothing,  and  is  offensive  to  good  taste.  It  is 
lawful  also  to  change  the  position  on  the  feet  while 
speaking,  and  even  to  walk  backwards  and  forwards, 
in  front  of  the  audience ;  but  the  speaker  should  not 
keep  doing  this  all  the  time  ;  otherwise  he  may  re- 
mind them  of  a  wild  beast  in  a  cage.  Occasionally 
lie  may  rise  on  tiptoe,  and  lean  forwards ;  but  this 
must  not  be  done  regularly  or  frequently.     In  gen« 


406  The  Elements  of  Power. 

eral,  all  gestures  which  are  made  with,  or  which  de- 
pend upon,  the  feet,  should  be  few  and  far  between 
for  the  feet  are  the  least  honorable,  and  least  expres- 
sive, of  all  the  members  of  the  body. 

$254.  All  mannerisms  are  to  be  carefully  avoided, 

A  mannerism  in  gesture  is  a  motion  which  is 
either  without  significance,  or  which  is  frequently 
repeated  without  reference  to  its  significance.  Such 
mannerisms  are  the  frequent  stamping  of  the  foot, 
running  the  fingers  through  the  hair,  adjusting  the 
clothes,  using  the  handkerchief  without  absolute 
necessity,  hemming,  coughing,  spitting,  placing  the 
thumbs  in  the  armholes  of  the  vest,  shrugging  the 
shoulders,  and  the  like.  These,  and  all  similar  man 
nerisms,  whether  of  voice  or  gesture,  can  never  fai 
to  mar  and  enfeeble  the  delivery. 


MENTAL  AND  MORAL  SCIENCE 


ELEMENTS  OF  LOGIC,  THEORETICAL  AND  PRACTICAL.  By 
Professor  JAMES  H.  HYSLOP,  Ph.D.,  of  Columbia  College. 
With  diagrams,  examples,  and  index.  450  pages.  Crown 
8vo,  $2.00. 

With  the  same  end  in  view  aa  Jevons  and  others,  ' '  to  direct  the 
student  in  practical  reasoning  and  correct  thinking  in  professional 
vocations,"  Professor  Hyslop  has  made  deviations,  additions,  and  im- 
provements, intended  to  serve  that  end  mo7'e  completely.  The  full 
treatment  of  all  subjects  is  designed  to  afford  students  a  better  guide 
than  Jevons  can  possibly  be.  The  stress  laid  upon  the  Nature  of  Con- 
ceptions, Propositions,  and  that  troublesome  subject,  the  Classification 
of  Fallacies,  renders  work  easier  in  important  departments  of  logic. 
New  distinctions,  with  appropriate  terminology,  are  presented  be- 
tween "  General  Terms. M  The  ordinary  treatment  of  Induction  has 
been  modified  by  distinctions  between  ' '  Inference,''  "  Inductive  Meth- 
od," and  "  Scientific  Method." 

Irrelevant  matter  and  peculiar  theoretical  discussions  give  place  to 
questions  actually  met  in  study  and  in  the  class-room.  Diagrams 
are  given  and  abundant  examples.  The  arrangement  and  typography 
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H.  K.  GARDINER,  Smith  College,  Northampton,  Mass.— "Dr.  Hyslop'a  'Ele- 
ments of  Logic'  contains  all  that  is  of  value  in  Jevons'  smaller  work  and  mucli 
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greatly  enhance  the  value  of  the  work  for  use  in  the  class-room  " 

ENOCH  PERRINE,  BueJcnell  University,  Lewisourgh,  Pa.—"  I  have  received 
Dr.  J.  H.  Hyslop's  '  Logic'  wbich  you  have  recently  published,  have  carefully 
examined  it  to  see  if  it  is  a  practical  text-book,  and  am  fully  persuaded  that 
it  is  the  best  book  on  the  subject  now  before  American  teachers.  While  as  a 
whole,  it  is  admirably  adapted  for  higher  classes,  judicious  omissions  will  suit  it 
to  those  not  so  far  advanced.  I  shall  use  the  book  in  our  next  winter  term,  and 
at  that  time  you  will  receive  an  order." 

LOQIC.  The  Laws  of  Discursive  Thought.  Being  a  Text-Book 
of  Formal  Logic.  By  JAMES  McCOSH,  D.D.,  LL.D.,  Ex- 
President  of  the  Princeton  College.    12mo,  $1.50. 

Dr.  McCosh  thinks  that  more  error  arises  from  confusion  in  the 
Notion  than  from  Judgment  or  Reasoning.  So  he  treats  fully  of  the 
Notion,  with  the  Form  and  Relation  of  Thought  to  Language,  and 
thinks  that  we  have  thus  the  means  of  settling  the  question  at  present 
discussed  in  regard  to  the  Analytic  of  Thought. 


SGRIBNEKS  TEXTBOOK  CATALOGUE. 


PSYCHOLOGY:  Descriptive  and  Explanatory.  A  Treatise  of  the 
Phenomena,  Laws,  and  Development  of  Human  Mental 
Life.  By  GEORGE  TRUMBULL  LADD,  Professor  of  Phil- 
osophy in  Yale  University.     8vo,  $4.50. 

This  latest  work  of  Professor  Ladd  is  designed  to  cover  the  entire 
ground  of  descriptive  and  explanatory  psychology  in  a  summary  way. 
reserving  speculative  discussion  and  the  philosophy  of  mind  for 
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teachers,  while  not  exclusively  prepared  for  them. 

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gives  so  good  a  critical  survey  of  the  whole  field  as  this." 

PROF.  G.  H.  PALMER,  Harvard  University.— •«« Any  writing  of  his  is  a 
matter  to  be  grateful  for.    This  book  will  largely  increase  our  debt." 

PROF.  J.  H.  HYSLOP,  Columbia  College.—"  I  shall  take  pleasure  in  recom- 
mending Professor  Ladd's  new  book  on  psychology  to  my  classes  as  a  most 
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scholarship  to  have  produced  it." 

PROF.  J.  w.  STEARNS,  University  of  Wisconsin.— "  It  is  rich  In  material, 
admirably  clear  and  well  arranged,  and  a  thoroughly  satisfactory  introductory 
book  for  the  student  in  tbis  rapidly  developing  field  of  study.  I  shall  at  once 
recommend  its  use  by  my  classes." 

LOGIC,  INDUCTIVE  AND  DEDUCTIVE.  By  WILLIAM  MINTO, 
M.A.,  Hon.  LL.D.,  St.  Andrews,  Late  Professor  of  Logic  in 
the  University  of  Aberdeen.  With  diagrams.  385  pages. 
12mo,  $1.25  net. 

FROM  THE  PREFACE.—"  In  this  little  treatise  two  things  are  attempted  that 
at  first  might  appear  incompatible.  One  of  them  is  to  put  the  study  of  logical 
formulae  on  a  historical  basis.  The  other,  which  might  at  first  appear  inconsist- 
ent with  this,  is  to  increase  the  power  of  Logic  as  a  practical  discipline.  The 
main  purpose  of  this  practical  science,  or  scientific  art,  is  conceived  to  De  the 
organization  of  reason  against  error,  and  error  in  its  various  kinds  is  made  the 
basis  of  the  division  of  the  subject.  To  carry  out  this  practical  aim  along  with 
the  historical  one  is  not  hopeless,  because  throughout  its  long  history  Logic  has 
been  a  practical  science  ;  and,  as  I  have  tried  to  show  at  some  length  in  intro- 
ductory chapters,  has  concerned  itself  at  different  periods  with  the  risks  of  error 
peculiar  to  each." 

PROF.  G.  H.  PALMER,  of  Harvard.— "It  is  a  charming  book,  inapt  as  the 
adjective  would  ordinarily  seem  for  describing  a  logical  treatise.  Rarely  cIocl- 
one  find  within  so  short  a  compass  such  ample  learning,  lucid  arrangement, 
captivating  style,  subservience  to  readers'  needs.  Every  page  is  stamped  v.  ith  the 
individuality  of  the  writer  and  with  the  reality  of  the  subject  with  which  he  deals."' 

PROF.  G.  M.  DUNCAN,  of  Yale.— "When  one  reads  for  recreation  in  the  inter- 
vals between  college  examinations  in  the  hot  days  of  June  a  work  on  logic,  the 
work  must  possess  merits  of  a  high  o.'der.  I  have  been  thus  reading  Professor 
Minto's  book  It  is  the  best  manual  that  has  appeared  since  Jevons  published 
bis  Lessons.    I  shall  recommend  it  to  my  students  in  the  autumn," 


STANDARD   TEXT  BOOKS. 


FINAL  CAUSES.  By  PAUL  JANET,  Member  of  the  French 
Academy.  With  a  Preface  by  Robert  Flint,  D.D.,  LL.D, 
From  second  French  edition.    Ovo,  $2.50. 

PROF.  FRANCIS  L.  PATTON,  of  Princeton  Theological  Seminary.—  *I  re- 
gard  Janet's  '  Final  Causes '  as  incomparably  the  best  thing  in  literature  on  the 
subject  of  which  it  treats,  and  that  it  ought  to  be  in  the  hands  of  every  man  who 
has  any  interest  in  the  present  phases  of  the  thelstic  problem.  I  have  re  com 
mended  it  to  my  classes  in  the  seminary,  and  make  constant  use  o*  it  in  my  ia 
structions." 

NOAH  PORTER,  D.D.,  LL.D.,  late  President  of  Yale  College.-  •*' I  am  delighted 
that  you  have  published  Janet's  '  Final  Causes '  in  an  improved  form  and  at  a 
price  which  brings  it  within  the  reach  of  many  who  desire  to  possess  it.  It  is.  ia 
my  opinion,  the  most  suggestive  treatise  on  this  important  topic  which  is  access- 
ible to  our  language." 

THE  HUMAN  INTELLECT.  By  NOAH  PORTER,  D.D..  LL.D., 
late  President  of  Yale  College.  With  an  Introduction  upon 
Psychology  and  the  Human  Soul.   8vo,  $5.00. 

The  author  has  not  only  designed  tc  furnish  a  text  book  which  shall 
be  sufficiently  comprehensive  and  scientific  to  satisfy  the  wants  of  the 
many  students  of  psychology  and  speculative  philosophy  who  are  found 
in  our  higher  institutions  of  learning,  but  also  to  prepare  a  voh'run 
which  may  guide  the  advanced  student  to  a  clear  understanding  and  a 
just  estimate  of  the  questions  which  have  perpetually  appeared  raid 
reappeared  in  the  history  of  philosophy. 

THE  BRITISH  QUARTERLY  REVIEW.— "President  Porter's  work,  the  result 
of  thirty  years'  professional  labor,  is  not  only  the  most  important  philosophical 
work  that  has  appeared  in  our  language  since  Sir  William  Hamilton's,  but  its 
lorca.  as  a  manual  makes  it  invaluable  to  students." 

THE  PRINCETON  REVIEW.— "After  a  careful  examination  of  this  truly  great 
work,  we  are  ready  to  pronounce  it  the  most  complete  and  exhaustive  exhibition 
of  the  cognitive  faculties  of  the  human  soul  to  be  found  in  our  language,  and,  so 
far  as  we  know,  to  any  language.  The  work  is  a  monument  of  the  author's  in- 
sight, industry,  learning,  and  judgment ;  one  of  the  great  productions  of  our 
time ;  an  honor  to  our  country,  and  a  fresh  proof  that  genuine  philosophy  has  not 
died  out  among  us." 

ELEMENTS    OF    INTELLECTUAL    SCIENCE.     A   Manual   for 
Schools  and   Colleges.    By  NOAH   PORTER,   D.DE,  LL.D.f 
late  President  of  Yale  College.    8vo,  $3.00. 
This  is  an  abridgment  of  the  author's  "  Human  Intellect,"  contain- 
ing all  the  matter  necessary  for  use  in  the  class-room,  and  has  been  in 
troduced  as  a  text-book  in  Yale,  Dartmouth,  Bowdoin,  Oberlin,  Bates, 
Hamilton,  Vassar,  and  Smith  Colleges  ;  Wesleyan,  Ohio,  Lehigh,  and 
Wooster  Universities,  and  many  other  colleges,  academies,  normal  and 
high  schools. 

THE  NEW  YORK  WORLD.— "The  abridgment  13  very  well  done,  the  state 
■aents  being  terse  and  perspicuous." 

THE   NEW   YORK  TRIBUNE.-"  Presents  the  leading  facts  of  lntellecvjtf 
from  the  author's  point  of  view,  with  clearness  and  vigor." 


CHARLES  SCBIBNEES  SONS' 


ELEMENTS  OF  MORAL  SCIENCE,  Theoretical  and  Practical, 
By  NOAH  PORTER,  D.D.,  LL.D.,  late  President  of  Yale 
College.    8vo,  $3.00. 

GEORGE  S.  MORRIS,  Professor  of  Ethics,  University  of  Michigan.—"  I  hav 
read  the  work  with  great  interest,  and  parts  of  it  with  enthusiasm*    It  is  a  vast 
improvement  on  any  of  the  current  text  books  of  ethics.    It  is  tolerant  and 
catholic  in  tone ;  not  superficially,  bat  soundly,  inductive  in  method  and  ten- 
dency, and  rich  in  practical  suggestion." 

JULIUS  H.  SEELYE,  President  Amherst  College.— "It  is  copious  and  clear, 
with  ample  scholarship  and  remarkable  insight,  and  I  am  sure  that  all  teachers 
of  Moral  Science  will  find  it  a  valuable  aid  in  their  infltructions.w 

OUTLINES  OF  MORAL  SCIENCE.  By  ARCHIBALD  ALEX- 
ANDER, D.D.,  LL.D.    12mo,  $1.50. 

This  book  is  elementary  in  its  character,  and  is  marked  by  great 
clearness  and  simplicity  of  style.  It  is  intended  to  lay  the  foundations 
and  elucidate  the  principles  of  the  Philosophy  of  Morals.  It  is  widely 
used  in  colleges  and  other  institutions  of  learning,  and  is  specially 
adapted  for  students  whose  age,  or  the  time  at  whose  disposal,  does 
not  permit  the  use  of  the  more  extended  and  abstruse  works  on  ethics. 

THE  THEORY  OF  MORALS.  By  PAUL  JANET,  Member  of  the 
French  Academy.  Translated  under  the  supervision  of 
President  Noah  Porter.    8vo,  $2.50. 

Prof.  Janet  in  this  book  gives  us  not  only  a  clear  and  concise  exam- 
ination of  the  whole  study  of  moral  science,  but  he  has  introduced  into 
the  discussion  many  elements  which  have  hitherto  been  too  mnch 
neglected.  The  first  principles  of  moral  science  and  the  fundamental 
idea  of  morals  the  author  describes  with  much  precision,  and  presents 
an  interesting  and  systematic  exposition  of  them. 

SCIENCE.—"  The  book  has  lucidity  and  is  full  of  learning.  It  is  hardly  extrav- 
agant to  say  that  so  clear  and  picturesque  a  treatise,  in  the  hands  of  an  alert 
teacher,  might  save  the  study  of  ethics  from  its  almost  inevitable  fate  of  being 
very  dull" 

A  THEORY  OF  CONDUCT.  By  ARCHIBALD  ALEXANDER. 
12mo,  $1.00. 

Contents  :  The  Theory  of  Right— The  Theory  of  Duty— The 
Nature  of  Character— The  Motive  to  Morality. 

Professor  Alexander's  book  is  an  essay  in  that  department  of 
metaphysics  in  which  of  recent  years  perhaps  the  most  interest  has 
been  awakened.  Rarely  has  the  essence  of  so  vast  a  problem  been 
stated  in  such  succint  form.  The  work  contains  a  very  complete  and 
searching  examination  of  the  various  ethical  theories  and  systems, 
together  with  the  positive  statement  of  the  author's  ©wn  doctrine, 
which  finds  the  ethical  impulse  essentially  religious. 


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LD  21-100m-7,'33 


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